Sunday, December 1, 2024

The Dojo's Top Ten Films that Encapsulate 2024

 




INTRODUCTION

            As another year ends, it is time for The Sociologist’s Dojo to rattle off the top ten Sociological films of the year. As with the last four years, I’ve decided to once again give readers a list of 10 events of the year that can be encapsulated in film. Understand that this is not an exhaustive list of events, nor even the ones that are “The Most Sociological.”  Instead, this is to provide an accounting of some of the noteworthy happenings of 2024 and the films that epitomize their essence; either directly or tangentially. With each event, I will provide a brief explanation, followed by how the film(s) relate to each incident. This list is obviously limited by personal bias, the films I have seen, and my own specialties in Sociology.

            2024 has been a year with a collection of events that range in description from the odd and surprisingly hopeful, to the erratic and utterly devastating. Our social institutions, which we have seen eroded in years past, now stand on the precipice of utter annihilation, due to the incoming administration’s goals guided by Project 2025. Deportation, Denaturalization and general demagoguery, this plan is set to be the backbone of the next presidential administration taking power on Jan 20th 2025. This decision, along with protest backlash, natural and industrial disasters, Data breaches, child labor making a 100-year comeback, and a literal standoff with Federal Authorities emphasize what kind of year this has been. Much like the seasons changing, our socio-political climate is about to enter its second ice age. It is going to be dark, bleak and cold.   

 

 

10)   Biden Cancels Student Debt: Double Feature: Borrowed Future and Loan Wolves (2022)





            One of the glimmers of 2024 came in the form of President Biden canceling record amounts of student debt. Beginning in February through October of 2024 the Biden-Harris Administration canceled 175 billion dollars-worth of Federal Student Loans affecting 5 million people (A whopping 11% of all outstanding student loan debt). 1 million of those whose debt was forgiven was through the fixing and expansion of the Public Service Loan Forgiveness Program (PSLF) established in 2007 under then President George W. Bush. Under this program, borrowers would have their federal student loans forgiven if they went into the Public service industry and made qualified payments on their loans for 10 years. Therefore, anyone who is employed by the State and Federal government, as well as many non-profit agencies could qualify.  Prior to Biden taking office, the program had grind to a halt due to strict criteria in place to qualify. The laxing of these rules allowed more borrowers to be automatically enrolled and forgiven if they qualified.

            Unfortunately, this does not cancel all types of loans. With his power as President, Biden could only forgive Federal student loans. Anyone holding state loans or private loans would not be included. There were many cases where individuals had their federal student loans forgiven, but still owed money in these other forms. Additionally, in our politically divided times, leading Republican Party members attempted to block the debt forgiveness by preemptively suing the Biden administration for the effort; citing a lack of Judicial review. This was after a softer attempt by Biden to forgive debt in 2023 that was struck down by the Supreme Court. 

This opposition metastasized in our culture among right leaning pundits and social media keyboard warriors as being unfair. Their rationale was because so many of them had to pay, so too should everyone else. Some of the more “moderate” individuals were charitable on the loan forgiveness, but also wanted reimbursement for their own loans. This emphasizes an individually focused ego-centric mentality where people do not appreciate what this means for the public good and an inevitable boost to the overall economy. Yet, all these individuals see is what they didn’t get. Never mind the hypocrisy those same individuals exude when they talk about avoiding paying taxes as being “smart” or “savvy”. There is a lack of sociality and collectivism which has contributed to the evaporation of social programs since the 1980’s.

I rarely include documentaries on these top ten lists as part of the love and joy in discussing cinema through a cinematic lens is finding real-world themes within narrative storytelling. However, the student debt crisis is so monumental, I had to include two documentaries to give the subject the weight it deserves. In the two documentaries, both produced in 2022, and one more tongue-in-cheek than the other, outline the predatory and economically crippling situation 40 million people are still in. As one person states in the documentary, the phrase “Student loan” should give us pause because we are saddling barely legal adults with mountains of debt that they do not fully understand until they are trapped underneath it, because we normalize the process. Everyone is in debt and the lenders are the ones who are raking in the profits

  This is such a pernicious and prevalent issue that many of the narrative films that deal with the expense of college tuition are in the comedy genre. Two comedies: Stealing Harvard (2002) and The House (2010), produced near a decade apart, use the same premise: The cost of tuition is so astronomically high that it is laughable, allowing for zany hijinks to ensue as the main characters find a way to pay. In the former, Jason Lee gets the tuition money for his niece by gambling on a horse race. In the latter, Amy Poehler and Will Ferrell open an illegal casino to pay for their daughter’s college. There is never an interrogation of the classist nature of these situations, only the consistency of payment by any means necessary.  

           

 

9)   Alaska Airlines Flight 1282: Sully (2016)




            In 2018 and 2019, the Boeing company came under fire for its Maneuvering Characteristics Augmentation System(MCAS) on its 737 Max airplanes that contributed to the crashes of Lionair Flight 610 in 2018, and Ethiopian Airlines Flight 302 in 2019, killing a total of 346 passengers. The system was originally conceived to mimic older models so that pilots would not have to train in the simulator for the 737 Max planes. The system would automatically adjust the forward stabilizer, pitching it down before the plane would perceivably stall. During the two flights the MCAS system engaged and pitched the plane down, making it difficult for the pilots to gain altitude contributing to the crash. The planes were grounded until the system was updated and rigorously tested. The United States was the only country that provided push back against the plane’s grounding (presumably due to the financial loss involved) testifying to the safety of the aircraft on March 11, 2019. They decided to ground the planes two days later after a public outcry.

            Boeing and the Max airplanes were again in the spotlight in early 2024 when the door plug on Alaska Airlines Flight 1282 blew open, causing the cabin to depressurize, requiring the crew to make an emergency landing. All the passengers and crew survived. The door plug was a structure installed to replace an optional emergency exit door on 737 Max planes. A preliminary report concluded that four bolts, intended to secure the door plug, had been missing when the accident occurred and that Boeing records showed evidence that the plug had been reinstalled with no bolts prior to the initial delivery of the aircraft. This error highlights the gross negligence that often accompanies mass production fueled by the profit motive. Through this mindset, plastic screws and washers are replacing metal ones in newly made aircrafts while forcing workers to work faster under reduced quality controls.

            The 2016 film Sully directed by Clint Eastwood, highlights the procedure and investigation after a plane crash. Like the famous landing on the Hudson, Alaska Flight 1282 experienced an in-flight anomaly, and it was the quick thinking and the training of the crew that allowed all passengers and crew to be saved. However, the aftermath of the Alaska Airlines flight shed more light onto the manufacturing shortcuts at Boeing plants indicating a disregard for human life, unlike the actual Pilot featured in the film, and played by Tom Hanks, Chealsey “Sully” Sullenberger, who went over the plane after it’s landing and made sure all parties had deplaned, A National hero.      

 

8)   Natural Disasters: Geostorm (2017)




            Originally, this section was only going to discuss the damages of Hurricane Francine in the Gulf of Mexico making land fall in Louisiana, Hurricane Helene which claimed the lives of 215 people, and Hurricane Milton in Florida.  But if you scroll back to the events related to natural disasters over the past year, you see an increase in storm surges and the devastation that they cause. In addition to Francine and Helene which caused unfathomable amounts of destruction and displacement, in 2024 we also experienced: Wind storms (derecho) that produced over 500 tornadoes totaling 30 billion dollars in damages and killing near 50 people, Heatwaves in the Midwest, wildfires in the southwest, and a winter storm unofficially referred to as Finn.

            This eclectic mix of climate disasters evokes the continued degeneration of our environment, highlighting the clear effect of human intervention in nature. While the Biden administration re-established our participation in the Paris Climate accords, rejoined the G7 summit in 2021, and set records for vehicle admission standards, it may all be for naught. Considering the incoming administration’s cabinet picks, it is likely we will be whiplashed back into laxed EPA and climate regulations which will favor corporations and the continued consumption of fossil fuels. With that eminent future on the horizon, it is possible that a lot of the Climate Science Fiction (Cli-Fi) that at one time might have been an entertaining harbinger, may soon become a prophetic oracle.

            Geostorm is a terrible movie. Secret brothers, unbelievable romance and broken families healed by shared world-ending trauma.  Many cli-fi films, like disaster movies involving giant monsters (Go see the re-release of Godzilla Minus One), fail to understand that audiences go to these films for the spectacle (in this case the storms) rather than the human drama. We don’t care about the characters. We care about the metaphorical force of destruction that keeps us entertained and captivated in the theaters. It is often an escape, a respite from our lives. However, given the information coming out of the transition team for the next administration, even though Geostorm is a terrible film, it would be devastating as a reality.

      On May 10th, solar flares led to a geomagnetic storm that led to a solar wind shockwave that had the potential to affect electrical systems. Given the climate skepticism ramped in our soon-to-be- leaders, their penchant for privatizing and controlling aspects of nature (water ways, wind power etc.) and that a billionaire with a space program specializing in satellites is now the president-Elect’s new pal, how close are we to profiting from the control of the climate? With continued deregulation of NASA, how long before Space law, which bans weapons of mass destruction use in Space and the Moon Treaty which states:  “no nation may claim sovereignty over any part of space. All countries should have equal rights to conduct research on the Moon or other celestial bodies.” … are revoked by privatizers like Elon Musk who find more profit in getting humanity to another habitable world, rather than saving this one.  Many of the manosphere devotees of this bougie racist Kevin Durand clone don’t understand that much like the characters in Judd Apatow’s Don’t look Up, we’re not going with them.   

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  7)   Baltimore Bridge Collapse: Double Feature: Unstoppable (2010) Final Destination 5 (2011)




            In the early hours of March 26th, 2024, Dali, a container ship bound for Sri Lanka collided with the Francis Scott Key Bridge in Baltimore Maryland, causing its eventual collapse. The ship reported minor electrical issues while in port but continued on schedule. The ship lost power and navigational control, minutes prior to the accident. Although the crew dropped anchor, causing it to drag and slow the ship down, it struck one of the bridge pillars traveling at 8 miles per hour. Six maintenance crew workers on the roadway were killed in the collapse, an additional two were rescued from the water. According to the New York Times, the force of the impact with the pier was estimated to be between 27 and 52 million pounds of force.  In comparison, Saturn V rockets generated 7.9 million pounds-force of thrust at launch.

            While the devastation may not have claimed many lives, the environmental impact of the loss of such a major thoroughfare for both commuters and the shipping and trucking industry is monumental. After the initial crash, 40 ships were stranded. Ships both trying to leave Baltimore’s port authority and those trying to enter, caused major supply chain disruptions especially involving car manufacturers. Traffic was rerouted through the Baltimore tunnel. 35,000 vehicles crossed the bridge every day. This meant that a normal 10-minute commute across the bridge, with the detour, would now take over an hour.  The mayor of Baltimore has stated they will rebuild the bridge, with plans of reopening by 2028.    

Every year whenever I make these lists, there are always a few entries where I wonder if my film choices to encapsulate events are too pointedly glib. The choices of the Tony Scott helmed Denzel Washington vehicle Unstoppable and the fifth installment of The Final Destination franchise is pretty on-the-nose for anyone who has seen those films. Unfortunately, all I can say is that sometimes, there is little nuance to both an event and the film that can represent them regardless of their momentum. Could have been worse, I was considering including Speed 2: Cruise Control but felt that might be a “bridge too far.”    

     

  6)   Data Breaches: Hackers (1995)



            Living in the 21st century requires an amount of digital disassociation. The existence of metadata and the process of data mining has become so profitable that the public access to now increasingly more laborious and essential social media networks continue to be free because, we, the users (shout out to Tron), are the product. With our data ubiquitously changing hands to the right bidder, data farmer or misguided keyboard warrior, we then have to pay for net cyber security. Individuals, organizations and corporations shell out hundreds to hundreds of thousands of dollars a month to protect our data, and every year there are examples of when that security utterly fails. Granted, the often patchwork nature of protection makes the process reactionary; as new barriers against attacks are put in place, those that are bent on infiltration, either with benevolent or malicious intent, are already in.

            The biggest data breaches and other cybersecurity snafus in 2024 were the Healthcare data breaches: Ascension and Change healthcare; the latter being the largest healthcare payment system. This breach and its fix caused payment interruptions and delays in people being able to get their prescriptions. Ticketmaster the monopolistic corporation that has a piece of any live venue ticket sales, was also subject to a data breech that exposed 560 million people’s data , personal and payment information. In a separate incident, Ticketmaster’s cloud database, Snowflake, was also targeted. With Ticketmaster’s sordid history with both venues and performers as well as extreme price gouging, it is reasonable that they would have been a target of a data breach. However, the data that was gleaned from the attack only seemed to hurt the customers; and considering the iron fist with which the company holds all of these tickets, it’s not like many people can go anywhere else if they are into live performances. Finally, there was the Crowdstrike software update debacle, in which one of the largest providers of cyber security for businesses had a glitch in their software update that caused a worldwide blue brick “blackout” of all devices. This affected a wide range of industries: airlines, airports, banks, hotels, hospitals, manufacturing, stock markets, broadcasting, gas stations, retail stores, as were governmental services, such as emergency services and websites, costing around 10 billion dollars. Even though the patch went out rather quickly, many of the terminals affected needed to be restarted manually.     

             For those of a certain age, Iain Softley’s Hackers is a cult classic. One of the first films that introduced the concept of computer hacking in the world wide web, which was still in its public infancy at the time, also set the tone for computer hacking characters for about a decade. Presented as young, misunderstood sexually charged misfits, it was a window into how the mainstream looked at the youth culture at the time. Much like in the style of old westerns, the film presents the protagonists as libertarian leaning anti-establishment anti-heroes by having them cite the Hacker’s Manifesto: “This is our world now... the world of the electron and the switch... We exist without skin color, without nationality, without religious bias... and you call us criminals... Yes, I am a criminal. My crime is that of curiosity." These are your white hats, in a western parlance. The black hat/ bad guy in this story, is an older hacker that “sold out” and now works for a major tech company. There is a level of pretention and arrogance in the main characters that is a function of both youth and technological utopianism; that techno-progressives are superior because they understand a new form of technology and believe that it will usher in positive social changes. The film’s writing is bad, and the dialogue is even worse. You see a few familiar faces from other 90’s related media, like Mathew Lillard and Laurence Mason. But the film’s biggest impact is that it introduced Angelina Jolie to the entire planet.    

           

      5)   Child labor: Daughter of Rage (2022)




            The Triangle Shirtwaist Factory Fire in 1911 was one of the biggest tragedies in manufacturing during the 20th century. The resulting outcry from galvanized workers and labor organizers led to liberal labor reform through the passage and implementation of The Fair Labor Standards act of 1938. Signed into law by President Franklin D. Rosevelt that same year, its enforcement saw an end to sweatshops and sweatshop-like conditions in the known world.  By the 1970’s, there was no child labor (except the loophole for commercial farm work) or sweatshop conditions in any industry in the US. Unfortunately, these policies began to be circumvented through the disciplining of Union labor (whom in the minds of economic and political neo-cons had gotten too powerful) by the granting of shipping tax holidays for goods traveling from overseas. This led to many American Corporations to set up factories in other countries, or partner with third party companies that would fulfill their manufacturing orders; transforming entire populations of people of color into their own personal labor farm. This economic “race to the bottom” allowed President Regan to be deified by the GOP, even though data has shown that these policies only succeeded in enriching the financiers and other elites. Therefore, these policies and political ideology have remarkably unshakable resilience even among the poorest of Republican supporters, believing the myth that they too can become billionaires, availing themselves of these enriching policies when they finally make their money. In reality, they are voting against their own interests.

            After the labor strikes of 2023, there was a demand for fair and equal wages in the service industry. Yet, because most corporations did not want to cut into their record profits, they began to incorporate a variety of union busting tactics to make sure that their workers had no collective bargaining power, if they were unsuccessful in stopping a union from getting formed, and had to collectively bargain with their workers for better wages, they recouped that money by price gouging their customers. But, by far the most insidious of these behaviors was the weakening of child labor laws in the US.

            Since 2022, Child labor violations have been spiking across the country with the first part of 2023 seeing the most growth of violations in the food service industry and fast food (mostly for a violation of maximum number of hours worked). Concurrently, we saw a weakening of child labor laws in several states including Florida, Indiana and Iowa, while other states imposed removing workers permits (Missouri, Alabama West Virginia, Georgia and Arkansas). Many of the bills ardent supporters would get on the floors of the Senate and the House to spin folksy tales of paper routes, lemonade stands and of learning the value of “a hard day’s work”. This all being a misdirection from the language of some bills (Iowa) that allowed the lowering of the working age for some dangerous industry jobs, such as in meat packing plants.

            The laxing on Child Labor has continued in 2024 with sanctions imposed on Hyundai for violations of child labor in one of their plants in Alabama, and a new initiative to allow for teenage commercial truck drivers in Texas. Since corporations are still driven by the profit motive, and they are unwilling to see their workers as human, let alone pay them a living wage, they have now decided to “make their nut” on the labor of children. Additionally, much like the loophole in farm work, these labor laws will more than likely disproportionately affect poorer people of color. A group that may not be a economic resource for much longer if the deportation and denaturalization plan for nonwhite migrants proposed by Project 2025 goes into effect. The country may end up leaning heavier into child labor than we have, even in recent years.

            There has yet to be a film released that encompasses the 100-year pendulum swing of child labor legislation in the United States. Reality is stranger than fiction. That is, at least in the current backsliding of rights political hellscape we are currently living in. However, the story of Maria in Daughter of Rage puts a human face to the globalized economy, and through narrative empathy, crystalizes the dangers of exploitative labor practices of Western Countries.  

           

 

4)   Texas Border Tensions: Double Feature: Border Wars (2007) and The Standoff at Sparrow Creek (2018)




            In another public political stunt, Texas Gov. Greg Abbot faced off with the Federal Government when he used the State’s law enforcement to place razor wire along the Mexico border at Eagle Pass, Texas earlier this year in January. The Governor, continuing to push misinformation about immigration, defended the actions by stating the Federal Government under President Biden, hadn’t done anything about the so called “invasion” which empowers him to act.  Abbot was hoping on an (ironically) liberal interpretation of Article 1, Section 10 of the Constitution that grants States the ability to respond to invasions until federal authorities were able to respond. Several analysts have pointed out that this is both a poor interpretation of the Constitution and illegal. The section in question was written in a time in American history when the federal military was small. It was spread out and took weeks to travel. Plus, there is no support in founding documents or other materials that directly state or even imply that states can decide for themselves when they're under invasion, and, even when the federal government disagrees, that the State’s position would be upheld. The Supreme Court sided with the Federal Government

This “standoff” is a callback to Abbot’s other political stunt in 2022, when he and Gov. Ron Desantis of Florida both placed migrants on buses and airplanes and sent them to Democratically led states and even to Vice President Kamala Harris’s home. This was not only an example of blatant racism, but Governor Abbot may have also violated Texas’s own Human Trafficking laws by doing it. Thus, Abbott once again, dehumanizes and exploits poor people of color in order to curry favor with our incoming billionaire oligarchs.

If the tension between the Texas National Guard and Border Patrol Agents this past January feels like the plot of a really bad movie, one that wouldn’t get a theatrical release let alone open widely, you’d be right. 2007’s Border Wars is a hyper masculine, xenophobic piece of right wing propagandic trash that might be a prophetic parable for how our border will look after the Project 2025 Mass deportations. The tag line for the film is: “Draw a line in the Sand…in Blood.” This is the same nationalistic rhetoric that one would find from a zealous SS soldier in 1936.

The choice to include the far superior, and more narratively coherent film, The Standoff at Sparrow Creek, is in part for linguistic symmetry. You can easily supplant “Eagle Pass” for “Sparrows Creek.” Outside of the rhythmic loquacity of the film’s title with the events in Texas, the film zeroes in on the dangers of private paramilitary groups that believe it is their right and duty to police their cities and towns; much like those at the Texas border. Many of these groups are former military and have a very specific understanding of the Second Amendment, that was put out into the public ether by the NRA in the 1970’s. These are the men that demonstrate with assault rifles because they have an extreme point of view on what “Open carry” means and the willingness they have to usurp control from the federal government. The film has an interesting take on how those groups should be handled.


3) The End of Chevron Deference: Don’t Look Up (2021)




            In yet another striking court reversal, The Supreme Court struck down the use of “The Chevron Doctrine”. Established in 1984, courts were required to defer to “permissible” agency interpretations of laws that were under their purview. For example, the court would listen to industry experts and scientists when deciding on climate change or EPA regulations. Basically, when the law is in doubt, The Chevron Doctrine says: “Listen to the experts.” This precedent has given clout to the Scientific method and Scientific facts when interpreting the law. The law was based on Scientific evidence because of Chevron. However, in Loper Bright Enterprises v. Raimondo, this summer, The Supreme Court decided that agency experts are not better suited to decide and interpret tough and complicated statutory questions than the courts. Chief Justice Jon Roberts, in speaking for the majority, stated that “agencies have no special competence in resolving statutory ambiguities. Courts do,” and “even when an ambiguity happens to implicate a technical matter, it does not follow that Congress has taken the power to authoritatively interpret the statute from the courts and given it to the agency.” This dramatic shift has wide-reaching implications in a variety of industries: from environmental protection and healthcare, to maritime, securities, tax, and financial regulations. Science and facts are no longer the benchmark by which the law shall be decided anymore.

            This monumental shift in the Court’s direction, also opens the door for standards for agency appointments to be lowered. Since science is no longer the driving force behind legal interpretation anymore, there has been a slide away from education, credibility and expertise when determining the appointed leaders of these regulatory agencies. Donald Trump in 2016 and even more so in 2024 has appointed individuals to certain cabinet positions that typically have no experience ( Education: Betsy DeVos (2015), and Linda McMahon (2024)), have political ideology or behavior in opposition to the agency’s goals (EPA: Rex Tillerson (2015) Lee Zeldin (2024)), (HHS: Robert Kennedy JR.)[1] or his other sycophantic cavalcade of cronies that will be overseeing “Government Efficiency” (Musk and Ramaswamy). Thankfully, these positions still need to be approved by Congress, but considering that Republicans have a narrow majority in both the Senate and The House, it is possible that this clown car cabinet could be briskly confirmed.

            The buddy comedy The Other Guys, written and directed by Adam McKay, has a subplot mirroring the Bernie Madoff Ponzi scheme. This was on Adam McKay’s mind, enough for him to include an explanation of a Ponzi scheme in animated detail during the closing credits. This began McKay’s lean into a greater sense of social commentary in his films; culminating in The Big Short, where he told the story of individuals that benefited from the financial crisis of 2008, and Vice, a limited Biopic on Dick Chaney. But it is only until 2021’s Don’t Look Up, a story about a group of Astrophysicists that try to convince the planet of its impending doom, that McKay tackles the issue of misinformation, populism and a move away from scientific explanations. After the removal of “The Chevron Doctrine” as a guard rail, many climate, social, and political scientists are going to feel like the main characters of McKay’s most recent venture. [2]             

 

2) Israel and Gaza Student Protests: Kent State (1981)



            One of the biggest turns in 2024 was the embrace of a Pro-Palestine, anti-Zionist movement in the United States. Motivated by Gen Z and the youngest Millennials, we started to see protests that consistently criticized the US blanket support for Israel. Finding fault in the tired rhetoric of “Israel has a right to defend itself” there was a generational culture shift that began to question the actions of Israel and starting to cast them as the villains, given the overwhelming control Israel has over the infrastructure and resources of the people in Gaza. What stood these student protests apart from some the more general protests for Black Lives and against police brutality during the summer of 2020, is that these student protests were specific in their demands. They were seeking to have their university divest from providing military aid to Israel. This is a direct and specific request. However, much like how munitions contracts are politically engineered through their incorporation into the Military Industrial complex to keep the system in place, so too is the investment of many universities support for Isreal. For example, 18% of the University of California system’s investments are connected to weapons manufacturers and Treasury bonds supporting Israel. However, that money is also entangled with student tuition subsidies, faculty salaries (including retirement) and scientific research grants, complicating the divestment. Still, rather than communicate this effectively, making strides and taking steps to hear and alleviate some of the major concerns brought up by the protestors, major universities across the country called the cops on their own students.

 A liberal interpretation of this action by universities would be that this violates the students and the faculty’s free speech rights. Whereas there has been a consistent cracking down on speech rights by the police since 2001. Disruption, disobedience and threat of property damage gained primacy for police officers interacting with protestors. Non-compliance, or a lack of acquiescence even if you are within your legal rights, have now been perceived as arrestable, and detainable offenses. With the increase in police discretion during the same time period, many people were arrested for not listening to police or not acting quickly enough with officer requests. Under this new purview, many faculty and students were round up, detained, and later arrested. Those detained were commonly charged with disturbing the peace, loitering or interfering in a police officer’s exercising of their duties. No one will ever be officially arrested or detained for their free speech; that would be publicly seen as unamerican. Those arrested are instead labeled with a minor infraction, even when the point was to curb their speech. 

One of the most consistent criticisms around current exercises of free speech that I hear (usually from people on the political right) is that protesting shouldn’t be disruptive. This is a ridiculous statement. Why would the status quo be altered if there wasn’t a clear and disruptive desire for change? Even the most liberal, non-invasive foreign policies rely on disruption of food/supply chains that compromise the lives of civilians in other countries in hopes that they may challenge their political or military leaders. The rich military and political elite recognize the power of disruption to create change. This is why they have attempted to remove the idea of disruption from exercising free speech so that the actual act of protesting has no political weight. It just allows people to complain, and unfortunately for many, that is enough; without any real change taking place.

            These protests and the overall position of the anti-war movement were quickly used as a political weapon that became a significant factor in the outcome of the 2024 election. In addition to Representative Rashida Tlaib, the only Palestinian American in Congress, being censured in the House of Representatives for speaking out against the war, Vice President Harris, in her bid for President of the United States, could not clearly distance herself from the Pro-zionist policies of the Administration she was currently a part of. She also made several poor choices such as shouting down Pro Palestine protesters at her rallies and not letting a representative from the movement speak at the Democratic National Convention. This alienated a lot of the youth votes that could account for the 10 million people that did not vote in the 2024 election compared to 2020. Finally, seeing that this was a wedge issue for a lot of voters, Former President Donald Trump, at the time when he held no political office, convinced Israeli President Netanyahu to delay a peace deal because he wanted to run on it as an issue.

            Much of the aggression and violence experienced on college campuses this year is reminiscent of the student protests against the Vietnam War at Kent State University in Ohio. The whole world was horrified when the Ohio National Guard opened fire on the protestors, killing four and wounding nine. This was widely accepted as a violation of their free speech rights. Therefore, it is only fitting that the movie which most effectively encapsulates this moment is the dramatization of these events in a TV movie called Kent State. The movie, like the people at the time, recognized that disruption is not a valid excuse for violence, especially coming from the more militarized police that we currently have.     

             

1) The Re-Ascension of Donald Trump: Star Wars Episode IX: The Rise of Skywalker (2019)



      Donald Trump is a scourge; plaguing the world since 2015, the media landscape, and the city of New York for far longer. He began his career as a slum lord, became a charlatan and a huckster of cheap goods, he played a billionaire on tv because he needed to avoid bankruptcy, then ran for political office to get back at President Obama for making a tepid joke at his expense during the White House Correspondence Dinner in 2011. He began his campaign in a racist tirade against Mexico, the news media gave him more air time, and he was able to bamboozle poor white voters into giving them a scapegoat, and an image of a Savior for their troubles. However, like his time on The Apprentice, Trump believed that it could help him open up new revenue streams, but he never expected to win in 2016.

I wrote a trilogy of essays as I tried to process the 2016 Election.

The First Trump Administration was a hate filled White Supremacist laden cacophony of chaos that few could expect. He called countries ‘shitholes’, instituted a immigration travel ban, and put children in detention centers, separating them at the border. He abused the powers of the presidency in ways we hadn’t seen, rolled back Civil Rights protections, including (with the help of Goblin King Mitch McConnell) the shaping of the Courts, specifically the Supreme Court, into a more religiously conservative form which led to the rollback of federal protections of reproductive rights for women in 2022. He was also impeached, twice.          

            In 2020, he lost a nail biter of an election to Joe Biden, not because of the many things he did in his first term, but because of COVID 19 and his misinformation and failure to have a proper response; leading to 3,000 people dying a day at the height of the pandemic.  Since his election loss, Trump unprecedently denied the results of the election and would not concede, even encouraging his angry supporters to stop the vote count at the capital on January 6th.

            I wrote about the media impact on public perception that contributed to January 6th.

Since leaving office, Donald Trump has hung in the minds, hearts and souls of people. Like a virulent pestilence that never dissipates, he never went away, never went dormant. He was always a part of the news cycle, spewing lies, hatred and misinformation. However, there was some hope that he would face consequences and be removed from politics, as Prosecutors in New York and Washington DC moved to convict him. So, much like going on The Apprentice to avoid bankruptcy, Donald Trump ran for office again, to avoid criminal prosecution. He was hoping to run out the clock until election day.



In May of 2024, during the campaign, Trump was convicted of 34 felony counts in a hush money trial to pay off Porn Star Stormy Daniels prior to the 2016 election. Additionally, the Department of Justice appointed Special Prosecutor Jack Smith to investigate Donald Trump’s actions on January 6th as to if it constituted Election interference, and a separate case in Florida concerning the mishandling of Government documents.

The federal case was delt a serious blow in July 2024 when the Supreme Court, in a 6-3 decision, decided that Trump while in office, and any President in perpetuity, has broad immunity from prosecution for official acts while in office. This eliminated a lot of the admissible evidence Prosecutor Jack Smith was able to use and caused him to have to refile the case under the new guidelines.    

Two weeks later, in an unrelated incident, Donald Trump survived an assassination attempt in Pennsylvania during a rally. Trump was nicked in the ear by a piece of glass and was eventually carried offstage to safety.  The shooter, who was killed in the attempt, was identified as Thomas Mathew Crooks, a registered Republican and in the ensuing investigation found to have anti-immigrant views. In September, another assassination attempt was thwarted by Secret Service on the Maralago Golf course in West Palm Beach Florida. Still, Trump was undeterred, even emboldened by his brushes with death.

On November 5th, 2024, we had a choice between Vice President Kamala Harris, a qualified prosecutor who is also a biracial person of color, and Donald Trump, a narcissistic convicted felon who cozies up to fascist world leaders, White Supremacists, and rapists. We chose the felon. We chose Trump.

Trump won through spreading misinformation about tariffs and Biden’s economy while tapping the “manosphere”, encouraging disaffected young white men to vote for him. He gained support from men of color, even when the majority still voted for Harris. Meanwhile, over 10 million people who voted in 2020 failed to vote in 2024. Trump’s gamble to seize power and avoid prison unfortunately paid off. Thus, like anyone with chlamydia, genital warts or any other venereal disease, the United States is about to have its biggest flare up in history.

 Free from the burden of Federal prosecution, and the sentencing of his criminal conviction being suspended, a Trump second term is shaping up to be worse than the first.  Project 2025 is already being implemented. Contract bids for the construction of Deportation centers have already gone out. Bibles are being shipped to schools, and the Trump Cabinet is slowly becoming a real life Legion of Doom from the comics. Unlike the first administration there are no guard rails or adults in the room anymore. Trump has spent so much time out of office chipping away at the public confidence of our social institutions that there is little left to regulate him. With winning the electoral college, the popular vote, and republican gains in The House and Senate, there is not a majority to stand up to Trump in the halls of power.

Just like Palpatine in Rise of Skywalker, Donald Trump has returned. Unfortunately, it won’t be as short lived as the cinematic Sith lord.


 


CONCLUSION       

            I look out on the precipice of another year on the horizon, with a minor sense of personal hope that absolutely, positively… does not extend to the mezzo or macro level(s). Our institutions continue to crumble; their remnants being brushed aside over the next 4 years. There is still an acrimonious stalemate in Congress with the Republicans having more power than last year, and the certainty of Trump’s second term is looming. There is not much to be thankful for on that level, which is why it is essential for us to find love and joy wherever we find it. Whether that be among our family, friends, spouses, partners and ‘others of significance’, we cannot count on happiness coming from anyone other than inside and around all of us. I leave you with the death of Palpatine, here’s to the hope of life imitating art. See you all in 2025!    

           







[1] I weas going to put Matt Gaetz here. But as of this writing he has since withdrawn himself from consideration amid a New s story being released about Gaetz alleged sexual misconduct with underage girls.

[2] As of this writing. The Thursday Murder Club is set for release in 2025


Saturday, November 9, 2024

Unthankful: The Lack of Thanksgiving related Media and The Mythological Criteria of "A Thanksgiving Film".





                One of the (many) ironies of the United States that is often overlooked, is the complete assimilation of Pegan rituals commodified by major corporations into cultural practices of spending that results in revenue that rivals many small countries. Meanwhile, the holiday that is directly related to US atrocious human rights violations is ignored. Granted, Thanksgiving itself is just as commercialized by big box grocery stores, and the meal itself, is directly symbolic of the American glut for resources. But it has never reached the notoriety and cultural importance of its spooky or festive neighbors on the calendar. While the reasoning is understandably clear, the aforementioned atrocities, this lack of cultural enthusiasm spills over into film and popular culture with the glaring absence of Thanksgiving related media content. This brief paper will examine the reasons for a historical lack of Thanksgiving films, interrogate the miniscule trickle of Thanksgiving films that do break through the joyful/horror holiday barrier, while finally investigating and cultivating a criterion for a “Thanksgiving film” as to better fill the yawning maw of a gaping hole in the cinematic zeitgeist.

 

HISTORICAL CONTEXT

            The term “revisionist history’ is multi-layered, often being invoked in the process of obfuscating abuses of power or revealing them. The first revision is (usually) when the white supremacist capitalist heterosexist ableist patriarchy warps the reality of their for-profit slave collecting genocidal pursuit of land acquisition, into folktales about ruggedness, cherry trees, honesty and new ‘friendships’.  This new myth is solidified through generational repetition by its inclusion in educational institutions as foundational cultural knowledge; used as an allegorical mechanism of social control to teach children about the importance of sharing and fairness. The second revision takes place when we view history outside of the white cultural lens of the oppressors, and instead, look at history from a variety of perspectives especially those of the oppressed. As the latter revision has become more prominent in the last 20 years with efforts to “decolonize the syllabus” and the creation and inclusion of courses and curriculum in Chicano Latinx Studies, Black Studies, Asian Pacific Islander Studies, and Indigenous Studies; there has also been pushback of the former. Right leaning lawmakers emboldened by the perfunctorily putrid populism of Donald Trump, ironically appropriated the term “woke” from Black culture. Originally meaning simply to remain politically literate and aware of the first revision, since its assimilation by the political right, it has been used as a catch all for any policy, program or perspective that is in any way left leaning, often accompanied, and framed by anti-socialist rhetoric. Thus, the word “woke” has been weaponized to undo and reestablish the former revision through an “anti-woke” agenda that has been successful, as of this writing, to keep half the country “asleep”.

In the realm of media consumption, film, and popular culture, the ‘sleepy’ brigade of ‘anti-woke’ radicals have mostly set their sights on one of the other holidays adjacent to Thanksgiving. The most common example is the ‘War on Christmas’ where far right pundits languishly lament over their perceived inability to be able to say: “Merry Christmas”. The reality being that, like masculinity, their holiday cultural construction of Christmas is so fragile that it cannot exist around any religious diversity without shattering…an indication of their insecurity which fuels their overall outrage. While Thanksgiving has been spared most of the public ire of egotistically erroneous ignoramuses, it is not exempt from the media’s general ability to reshape the public perception away from its problematic history, which needs to first be decolonized before revealing the Thanksgiving media myth.

Brief Historical reality of Thanksgiving

            Thanksgiving is historically problematic. The celebration is culturally constructed to allow White Americans to distance themselves from history. The creation of this historical chasm is purposeful as mechanisms of social control. This indoctrination of the revisionist myth begins with the history books we give to children, “it starts with heroic adventure- there is no bloodshed- and [Thanksgiving] is a celebration.” (Zinn 2003: 7). The reality of Thanksgiving is as bloody and tragic as the rest of our colonial history. Yet, we have been taught to bury our atrocities in order to provide a perception of unity under one governmental rule, instead of choosing to “see history through the “standpoint” of others (Zinn 2003:10).

            Contrary to popular boomer, Gen X and early Millennial teachings of history, when the Pilgrams came to the “New World” they did not settle on abandoned or vacant land. After ignorantly deciding that the indigenous culture was “savage” the leaders of the settlers used English Law as an ethnocentric justification to declare the area legally a “vacuum”. This began the idea of the land needing to be tamed, and anything within it had a ‘natural right’, but not a “civil right”, which were the only rights with legal standing (Zinn 2003).

This began the justification of genocide, guising colonialist barbarism in politically advantageous legalese. There were no people there because, under British Law, indigenous groups were not considered human. This specific legal interpretation solidified the annihilation of Native peoples. According to Roxanne Dunbar-Ortiz (2018), not only did the law give justification to the removal of native peoples from the land, but quite often, settlers would venture out past the colony boundaries to settle in “unclaimed” areas. This practice would lead to the establishing of violent militia groups designed to raid and raze indigenous communities for both land and resources.  Families were slaughtered in order to expand territories often without regard for age or gender (Dunbar-Ortiz 2018). This violence coupled with Canon Christian law institutionalized Settler Militias, leading to arming households to ensure the destruction and control of native people; later used as evidence in the creation of the Second Amendment. It is “a right to bear arms” against indigenous communities to “discover, pursue, fight, surprise, destroy or subdue” the Indian enemy (Dunbar-Ortiz 2018:45). Thus, the cycle of dehumanization, violence and death, making treaties and then breaking them, was repeatedly played out between the Settlers and native peoples; all based upon the needs, whims and greed of the colonial authorities of rich white men. The Colonial armistice with native peoples that would later be misappropriated as “Thanksgiving” was no different.

The origins of the mythical understanding of “Thanksgiving” began during the early days of colonization in the original eastern colonies. The settling group in New England brought with them the tradition of days of fasting and Thanksgiving[1] in 1619. The first winter killed nearly half of the settlers when an emissary of the Samoset people, convinced that the group was not there to fight because they brought women and children, taught the Pilgrams how to catch eel and grow corn. The Wampanoag also gave food to the colonists during the first winter when supplies brought from England were dwindling. This was because there was a desire for a treaty between the Wampanoag and the better armed Settlers against the Narragansett tribe who, unlike the Wampanoag, had largely been spared from smallpox. The Wampanoag also taught them to grow squash, beans and to use fish remains as fertilizer.  

In 1621, to celebrate the first good harvest, a feast was prepared[2] but those responsible for the settler’s survival, the Wampanoag, weren’t invited. Instead, they showed up to investigate the violence of firing muskets and general revelry from the colony, They were only welcomed by the settlers when they showed they had something to contribute. Some accounts even suggest that they brought most of the food that was consumed and outnumbered the settlers 90 strong to the Pilgram’s meagre 50 settlers. Unfortunately, just a few years later, the treaty that was brokered between the Wampanoag and the Pilgrams turned to ash, with the igniting of the Pequot War in 1630 and the King Philips War in the 1670’s (Burgos 2019). However, the myth of Thanksgiving becomes an indelible part of our learned history to eventually be recreated in popular culture.




   The Value of False Friendship: the durability of The Thanksgiving Myth

The first instance of the mythology of “the first Thanksgiving” being used in the media for propagandic purposes is in the winter of 1621, just after the actual celebration and treaty between the Settlers and Wampanoag. Gov. Edward Winslow of the Plymouth Colony, to bring more people to the settlement, falsely described an inclusive 3 day-long celebration and peace between the two groups (Smith 2003). From this, the friendship myth was born, implying that the enduring friendship between the Native peoples and the settlers were invaluable to the survival of the Plymouth Colony and the existence of the United States. This myth is woven into White American’s sense of nationalism, dulling the sharp edges of colonialism and genocide into a softer story of multicultural cooperation, which is more palatable to the many flag waving fathers we’ve sat across from at the Thanksgiving dinner table.

The Second piece of media that became integral to the legacy of the myth of Thanksgiving is Jane Austin’s novel Standish of Standish in 1889. A fictionalized account of life in the Plymouth Colony, Austin’s narrative perpetuates many of the falsities that we’ve come to associate with the ‘holiday of generosity’. The belief that it was an outdoor feast, the worshiping of “The Great Spirit” and the traditional Thanksgiving menu was all manufactured in this story, Austin being the first to include: turkey stuffed with beechnuts, other types of fowl, venison, boiled beef and other roasts, oysters, clam chowder, plum-porridge, hasty pudding, sea biscuit, manchet bread, butter, treacle, mustard, turnips, salad, grapes, plums, popcorn, ale, and root beer in to the Thanksgiving meal. Austin's lavish descriptions became so popular that it was repeated by other writers, adapted for plays and public events, and incorporated into school curricula (Smith 2003).

Ten years after Austin’s book was first published, the painting “The First Thanksgiving” by Jean Leon Gerome Ferris was complete. The artwork represents and solidifies many of the mythological elements that are commonly associated with Thanksgiving. The image depicts an outside gathering by a camping style cookfire with the Wampanoag sitting on the ground and the Pilgrams in their black and white garb, with buckles on the shoes and black top hats serving the meal. Upon greater historical reflection, nearly every aspect of the painting is incorrect. The Pilgrams would not wear those clothes as they were reserved for religious service. As indicated above, the meal was a complete fabrication. It would not have been served outdoors on the ground, and the Wampanoag did not wear headdresses, as that was the ceremonial attire of the Native people of The Great Plains. However, this was used as a cultural marker for the misrepresentation of Thanksgiving for generations.

The impact of these (false) media images in and around Thanksgiving has a generational impact because of their inclusion in social institutions. Every year elementary schools still make ‘Pilgram Hats” out of paper and gram cracker turkeys with candy corn feathers[3](education), Macy’s still has a televised Thanksgiving parade with an anthropomorphized turkey balloon (media), and retail stores (especially grocers) bring in considerably more revenue (economy) helping every American household recreate “The traditional” Thanksgiving meal ever since FDR declared Thanksgiving a Federal Holiday in 1941. Embedding cultural, social or religious practices into the structural organization of a society, fundamentally shaping its operation, and the interactions people have with it and each other is an exercise in power.

According to Pierre Bourdieu, one such exercise of power is the development of a habitus (Schwartz 1997). When specific behaviors for people’s participation in necessary social institutions (schools, the economy etc.) are required and often ritualized through the process of socialization (social learning); these actions imbue individuals with a “habit forming force” that includes a set of deeply held master patterns that ultimately govern our interactions with individuals, organizations and institutions. They become habits. These holiday-related habits are less likely to be questioned, let alone critically analyzed, because of their annual habitual re-creation. We just do it, because it is what we have always done. This normalization keeps the system operating in its current form, embedded in the minds and emotional resonance of millions of (nonnative) people that then get reinforced through nostalgia. Unfortunately, the ignorance that often accompanies the development of the habitus, often leads to ethnocentrism and racism when challenged.

In the late 90’s/the early 2000’s, began a concerted effort to reclaim the Native Identity from the “noble savage” caricature that is perpetuated by its inclusion in Thanksgiving. A history of genocide and segregation onto Federally stolen land allowed the mythology and racist symbolism to persist, when so many other discriminatory depictions were laid to rest. Fewer Native people meant less collective power to protest these images. Undeterred, this movement slowly began to make progress. The first significant cultural blowback happened when Native groups began to challenge sports team mascots. Habitus and nostalgia were being challenged by egalitarianism and anti-racism; resulting in the baffling occurrence of white male sports fans trying to convince groups of Native activists that their mascot (often represented by a white person in redface) was respectfully honoring their culture. This mentality is born in the wake of genocide. These images persist because of the annihilation of Native people and the lack of interaction and assimilation of their rituals and customs into broader US culture. Instead, the cultural vacuum left by this demographic decimation was filled with frivolously insensitive cartoons that have bled into every aspect of our society. Therefore, the indelible power of a culturally ingrained and institutionally supported images of Thanksgiving are hard to shake. People become emotionally invested in its recreation because of its connection to their own biography, and the subsequent parasocial relationship they’ve developed around fictional characters. This emotional investment in and parasociality of media depictions, is important in analyzing Thanksgiving Films


 


SOCIAL ANALYSIS

            In looking at Thanksgiving themes in media, it should be unsurprising that the portrayals of Thanksgiving, especially in film, not only contradict the historical accuracy of Thanksgiving, but also serves to further engrain the mythology of Thanksgiving into consumers for generational perpetuity. Yet even though Thanksgiving equally obfuscates and deflects from history like its sororal holidays flanking it on the calendar; Thanksgiving is clearly the neglected one. While this can be understood from a variety of cultural perspectives, through the lens of film, it is a plum to ponder.

            Comparatively, there are far fewer produced Thanksgiving films than its more festive relatives; the number dwindles further if  accounting for quality. The reasons carry multitudes: from commercial viability and entertainment to its appeal to children and a lack of a cultural “Thanksgiving Spirit”[4]. Yet, from a filmmaking perspective, there is little in the Thanksgiving holiday that distinguishes a specific Thanksgiving film from a typical Family Drama. Almost every Family Drama has scenes around a dinner table, giving thanks to one another, avoiding people and/or the airing their grievances (Grebey, 2019). It is therefore difficult to decern what makes a Thanksgiving film different than a film about thankfulness.

Criteria for ‘a Thanksgiving Film’  

            The difficulty in determining what makes a “Thanksgiving film” as opposed to a simple drama about thankfulness is that the overlap between them is maintained by a willful ignorance of the actual heretically horrific history of the event. Thus, what makes a “Thanksgiving film” is often any story that is set during the season.  This is reminiscent of the annually regurgitated argument as to whether Die Hard is a Christmas movie, which similarly struggles with the delineation between its satisfaction of both setting and theme as its primary validating principle. Incidentally, Dr. Peter Cullen Bryan  lays out a succinct criteria for why Die Hard embodies the themes of Christmas in addition to simply being set during the season. Bryan, in a virtual discussion with Dr. CarrieLynne Reinhard of The Pop Culture Studies Journal in December 2022, portends that Die Hard is a Christmas Movie[5] because:

1.      It’s about getting home for the Holidays

2.      It’s about family reunions, while going through a very difficult time  

3.      It has a lot of moments of isolation, loneliness and melancholy that often accompany the Holiday season that speaks to an often-ignored segment of the population   

4.      It has a lot of Christmas cultural aesthetics (tinsel, wrapping paper, a tree, music etc.)

Later, the panelists determine additional criteria for a thematic Christmas Narrative to be based around:

1.      Nostalgia, a focus on Childhood and youthful ease, innocence, and exuberance

2.      The feeling of something lost that needs to be regained (Love, Family, Sense of Wonder- “The Christmas Spirit”).

3.      Upper class, straight white able-bodied politically conservative families

4.      Consumerism as a mechanism to achieve happiness

5.      Magnanimity



 

Similarly to the Christmas Narrative outline above, a “Thanksgiving Narrative” criterion can also be constructed. 

            Based upon films considered to be about or set during the Thanksgiving holiday, a Thanksgiving Narrative should include:

1.      Traveling home for the event/ being at home with Family and Friends

2.      The Family/Friends are an eccentrically caustic cavalcade of characters

3.      Hardships and reconciliations

4.      Acceptance, deference and gratitude

5.      The mythical Thanksgiving accoutrements (The meal, the decorations, Football etc.)  

            When looking at most of the Thanksgiving based or adjacent films, these commonalities between stories thematically string films together that are eclectic in both genre and scope. Much like the breadth of films on the Christmas film spectrum. Independent films, big budget blockbusters, comedy, dramas and action films both embody the Themes of the Thanksgiving Holiday and have variations on the important setting.   

 A Truncated list of ‘Thanksgiving’ films under this benchmark (in No particular order):

·         Pieces of April (2003)

·         The Ice Storm (1997)

·         Soul Food (1997)

·         Friendsgiving (2020)

·         Thanksgiving (2023)

·         Home for the Holidays (1995)

·         The Humans (2021)

·         Mistress America (2015)

·         Hannah and her Sisters (1986)

·         One True Thing (1998)

·         Alice’s Restaurant (1968)

·         A Charlie Brown Thanksgiving (1973)[6]

 

Honorable Mention: Addams Family Values (1992)

 While this film is genre bent between Halloween and Thanksgiving without many of the outstanding criteria mentioned above, it does have this wonderful takedown of the holiday’s greatest myths by Wednesday Addams (Christina Ricci), while also leaning into some of them at the same time.

 


The Epitomal Thanksgiving Film: Planes, Trains, and Automobiles

            Every year, new lists emerge as to the cinematic cornucopia of Thanksgiving films people can watch when they are not checking football scorers and stuffing their face with turkey or the vegan/vegetarian equivalent. Every single list that takes its curation even quasi-seriously, and is not just trying to promote its own programing (looking at you Netflix), holds a spot for writer/director John Hughes’ 1987 road trip buddy comedy Planes, Trains and Automobiles.

One of the few Hughes films that doesn’t center around children, or the infamously labeled “Brat Pack”,  Planes, Trains and Automobiles was originally conceived when Hughes took a flight from New York to Chicago and had to be diverted to Wichita, Kansas. Drawing from real life, he crafted the story of Neal Page (Steve Martin), a pretentiously neurotic marketing executive as he attempts to make it home for Thanksgiving.  At the start of this unexpected Odyssean track, he gets entangled with Dell Griffith (John Candy) a lovably verbose Director of Sales in the Shower Curtain ring Division of the American Light and Fixture Company[7]. Bad weather, bad luck and even poorer choices follow the duo as they transition from each of the titular conveyances. Along the way, tensions rise and tempers flare, breaking the pair up only to throw them back together, and in the end, both are a little more introspective and a lasting friendship is formed.    




Brief ‘Planes Trains and Automobiles’ Production aside

Film editing is a delicate and precise profession, making sure that you only trim “the fat” of a scene; and to know what that looks like. On the Planes, Trains and Automobiles’ episode of the podcast “A Cinematic Christmas Journey”,  it is revealed by Paul Hirch, the film’s editor, that finding the balance of what to cut, or not, became an issue for the film’s production. First off, while fantastic, the shooting script for the film was well over 130 pages at the rate of a minute of screentime per page. This was at a time when comedies did not venture over 90 minutes very often. Secondly, they had two known improvisors in Martin and Candy, and a ridiculous 87-day shooting schedule (most comedies at the time had a shooting schedule around 36 days). There was so much footage to sift through (both coverage and takes) that Hirch gave PAs[8] their own “battlefield promotion” and turned them into his Assistant editor army. Even though Hirch now had help with the volume of material, it was still a challenge to find the right pacing, story beats and emotional resonance with the audience. One example Hirch gives on the podcast is when they first showed the film to test audiences. They hated the first cut of the movie. They saw Dell as a leech, and they wanted Neal to stand up to him. At the time, the cut they were showing to test audiences did not have the scene where Dell offers to pay for the train ticket. When they put the scene back in, the audience warmed to Dell.  It was important for Dell to remain affable and Neal not to seem too abrasive. This challenge left a lot on the cutting room floor.     

 The validity of the cut scenes in Planes, Trains and Automobiles vacillates between the extraneous, odd, and unfortunately, essential. Some of the unnecessary scenes were either longer versions of trimmed scenes in the film, or added scenes that took a joke too far, or did not move the plot forward. Some scenes were cut because they no longer fit the narrative they were telling, or simply for pace. Thankfully, for diehard fans of this picture, many of these scenes are included in the recently released 4k Blu-Ray. Unfortunately, this does not include the greatly lauded monologue John Candy’s Dell gives to Steve Martin’s Neal, which explains his history in wonderfully heartbreaking detail.[9]




 Much like after a supernova, in filmmaking, there can be an odd energy that lingers around scenes and subplots that are removed. Some of that energy is easily dissipated, as with the continuity error of Dell’s blackeye toward the end of the film. We get a throw-away line that the truck driver they are about to hitch a ride from is “a little nervous” so they can’t ride up in the cab with him. It is conceivable that the guy was so nervous that he was the one that punched Dell off screen, instead of a deleted scene where Neal punches Dell himself. However, some of the more pivotal cuts are echoed between some of the characters in the film. Even a first-time watcher of the film can notice an odd quality in the way that Neal and his wife interact with each other. There is a suspicious tension that lingers throughout most of the film that culminates in an overly emotional reunion for the couple. These melodramatic moments are the remnants of an excised sub-plot where Neal’s wife suspects him of infidelity. Despite seeing the seams of these stitches, Planes, Trains, and Automobiles is not just a classic film, but a Classic Thanksgiving picture.   

The Trimmings on a Thanksgiving Classic

 Planes, Trains and Automobiles is the quintessential Thanksgiving film. Through Hughes’ script and direction, the film not only follows the Thanksgiving Narrative structure but firmly plants itself as an example of the classic Thanksgiving Film.  The film satisfies every aspect of the Thanksgiving Narrative Criteria: Neal (Martin) is going home for the holiday, Candy’s Dell is himself a caustic cavalcade, the title implication of the shifts from modes of transportation indicates hardships, Neal and Dell eventually reconcile, and along the way they learn to appreciate each other. The mythological Thanksgiving iconography is shown in a memory montage to signify Neals thoughts as he is on the train going home; signifying what he’s been missing: the turkey, the pie, and his family.

 Culturally, the film has also become a ‘classic’ Thanksgiving film because not only does it have generational transmission, transcending age groups and solidifying itself as annual viewing for many friends and families around the holidays, it holds the icons of Steve Martin and John Candy, who both have claimed Planes, Trains, and Automobiles as their best performances, and their favorite movie[10]. Finally, the film both represents the 1980’s filmmaking in its style and reinvents the genre under the guiding hand of John Hughes, who had a unique way of blending comedy and drama in ways that are still being studied.

 


CONCLUSION

While the media content of Thanksgiving does not compare to its wonderful wintery successor, it equally carries with it a criterion that is exemplified by John Hughes’ Planes Trains and Automobiles. Although the film still has issues when viewed through a 2024 lens (gay panic jokes, white upper-class heteronormativity etc.) it is a classic of the genre and represents the cultural mythology of the holiday and the whitewashing of history. It should be of no surprise that few Native People celebrate Thanksgiving in the mythological Americanized “Tradition”. For many Native tribes, it is a day of mourning and atonement that emphasizes fasting and contemplation. Perhaps one day we will get our deeply contemplative and resonate Thanksgiving film that represents the history of the appalling events. But for now, we are stuck with the stories of the colonizers, no matter how charming.

 

REFERENCES

 

Burgos, Claire 2019. “The Myths of the Thanksgiving Story and the lasting Damage they Cause.” In The Smithsonian Magazine  Retrieved on 11/2/2024 Retrieved at: https://www.smithsonianmag.com/history/thanksgiving-myth-and-what-we-should-be-teaching-kids-180973655/

Dunbar-Ortiz, Roxanne 2018.  Loaded: A Disarming History of the Second Amendment San Francisco City of Lights Books

Grebey, James 2019. “Why aren’t Thanksgiving Movies More of a Thing” in Gentlemen’s Quarterly November 27th  retrieved on: 11/2/2024 Retrieved at: https://www.gq.com/story/why-arent-thanksgiving-movies-more-of-a-thing

Schwartz, David 1997. Culture and Power: The Sociology of Pierre Bourdieu Chicago. University of Chicago Press

Smith, Andrew F. 2003. “The First Thanksgiving” in Gastronomica: The Journal of Food Studies retrieved on 11/2/2024 Retrieved at:  https://online.ucpress.edu/gastronomica/article-abstract/3/4/79/104701/The-First-Thanksgiving?redirectedFrom=fulltext   

Zinn, Howard 2003.  A People’s History of the United States: 1492- Present New York: Harper Collins press



[1] Indicating that what is recognized as “The first Thanksgiving” was a misnomer, as “Giving thanks” was a long held traditional practice both prior to settling in New England, and in other Colonies before 1621.  

[2] By the only four women to survive the previous winter….Religious oligarchic patriarchy at its finest

[3] Author’s Note: Candy corn, and its equally abysmal cousin, circus peanuts, are abominable creations and should be considered poisonous to humans like mercury or arsenic.

[4] Read the Historical Context section again if you still don’t know why there isn’t a “Spirit of Thanksgiving”

[5] In that same discussion, linked in this essay, (see above) Bryan acknowledges that while Die Hard is a Christmas movie, it is on a “Christmas movie spectrum” as it may not be as “Christmasy” a movie as It’s a Wonderful Life… or others in that ‘classic’ section of the spectrum.

[6]  This might be the first instance of the now common tradition of “Friendsgiving” in Media

[7] Titles and their jobs aren’t important, but I like that I’ve seen this movie so much that nearly the entire script is committed to memory

[8] Production Assistants

[9] This was first revealed in a segment of the 2-part documentary Steve! About Steve Martin

[10] I would argue that the 1989 collaboration between Hughes and Candy, Uncle Buck is equally as good, and I often watch them around the same time every year