“Aggrieved entitlement” is a term almost exclusively applicable to white, American men because it takes note of the historically high levels of privilege of that demographic relative to the rest of society, and how as the less privileged have demanded equal treatment some white, entitled American men feel an erosion of their privilege. They feel “aggrieved” about the situation particularly because they think their loss of privilege is unjustified. A less charitable way of describing how they feel is to call them self-pitying and selfish.
A 1952 publicity photo of John Wayne (1907-1979), the actor whose image represented for many throughout the middle of the 20th century the ideal of American manhood, and who is even now still revered by some.
There is good reason to feel uncharitable toward a segment of society when its most extreme members act out their anger and frustrations by shooting and killing other human beings, sometimes on a massive scale. A disproportionate number of mass shooters are angry white men. After every mass shooting, there are calls for tighter gun control and for better mental health evaluations and treatments. Those are measures worth acting upon, if government leaders can ever muster the political will and courage to pass significant legislation and allocate sufficient resources to support them.
The largest element underlying gun violence goes unaddressed, however, and that is the sickness of this society. This is a society that values athletes more highly than teachers, and rewards cutthroat capitalists with outsized political power and immunity from customary ethical standards of doing business with the public and cooperating with workers and government. This is a society that puts cartoonish displays of machismo in its popular entertainment and then exalts them as models of the male ideal. This is a society where the term “toxic masculinity” has become necessary to describe behavior we unfortunately have come to witness every day.
The Searchers was a 1956 western film directed by John Ford and starring John Wayne.
Until the society as a whole works to correct the conditions nurturing the ideas some white men have that the possession, worship, and ultimately homicidal use of guns is the best way to make themselves feel better, then mass shootings are likely to keep occurring. These men deserve our empathy, or understanding, so that we can more effectively pinpoint and effect societal remedies. They do not deserve our sympathy, or sorriness, for how they feel about their changing circumstances. Just as the majority of children who come from broken homes do not grow up to become criminals, only a very few white men are so wrapped up in their sense of aggrieved entitlement that they lash out violently. Everyone has problems; most people find peaceful, constructive ways to cope with them.
Robert De Niro as Travis Bickle, the warped character at the center of Martin Scorsese’s 1976 film Taxi Driver. The story is told from Bickle’s perspective, which helps the audience have empathy for him. It’s up to individual audience members to decide if they feel sympathy for him. Warning: foul language.
For every action there is an equal and opposite reaction, a physical law first stated by Isaac Newton, and it seems it applies to forces within society as well. As women and non-white ethnic groups have fought for equal rights over the past 100 years or so, there has been an opposite reaction from men and white people, though not all of them in equal measure. As women have gained power in the marketplace and in the home, we have unfortunately seen the coining of terms like “man up”. As non-white ethnic groups have expressed their growing power in increasing numbers at the ballot box, we have begun to hear the phrase “take back our country” from some in the white majority who feel threatened by slippage in their dominant status. If meanness of spirit can be learned, then generosity of spirit can be taught, and society should emphasize the value in it. More Tom Joad, less Rambo.
— Ed.
Being happily alone while encountering people in daily life who can’t imagine not being married or having family and friends around occasionally brings up conversations where the socially active people express concern for the ones who don’t share their interest in a busy social life. Those conversations are more frequent around the holidays at the end of the year, and it rarely seems to occur to social people that the others, the loners, are sincere when they say they don’t mind being alone. It’s even more tricky for a loner turning away an invitation without hurting the feelings of the social person extending the invitation.
It would all be simpler if socially active people understood that while they are in the majority and their attitudes appear to be the norm for human beings, loners who do not share their outlook are not morally or psychologically deficient, or acting superior, when they express asocial behavior. Asocial, not antisocial. There’s a difference. An asocial person, a loner, might be shy and reserved around others, or feel most comfortable in their own company, but such a person is not antisocial. An antisocial person can also be characterized as a loner, but one who may harbor hateful, vengeful, and possibly violent feelings toward the rest of humanity. An asocial loner is confident and happy being alone, and does not begrudge the rest of humanity in the way of an antisocial loner like Travis Bickle, the eponymous character played by Robert De Niro in the 1976 Martin Scorsese film Taxi Driver.
Landscape of Khinalug Valley in Azerbaijan. Photo by Matthew Hadley.
Around Christmas, the misunderstanding between social people and asocial people is heightened by the increase in social gatherings and invitations to same. It can be hard for concerned social people to discern the difference between a happy refusal of an invitation and a disinclination to be the cause of pity. Does “no” mean no? Well meaning people who don’t mistakenly judge well-adjusted asocial peers as antisocial loners in need of companionship nonetheless have difficulty taking no for an answer the first time. Sometimes the real need lies with the social person asking others about their holiday plans, in hopes of landing the companionship they want for themselves. They can even be desperate, like people flailing in deep water who climb on top of another swimmer. They are people who fear being alone, and though their sociability places them in the majority, they are not normal or healthy.
Perry Como’s 1954 rendition of “(There’s No Place Like) Home for the Holidays”.
This Christmas, don’t be afraid to turn down an invitation because that might seem unsociable, and therefore deviant. And don’t push for an invitation out of fear of spending the holiday alone. This Christmas, try to be happy with the situation as it is, and if that means flexing the definition of home for the holidays, then find comfort in that because there are far too many who cannot find a home, in any sense of the word.
— Ed.
If in early 1977 you had dropped off for a long sleep and, like Rip Van Winkle, awakened many years later, in this case late in 2017, and you were an avid moviegoer, you would find many changes in the types of movies that were popular in the different eras. Some of the biggest changes would have come about because of Star Wars (1977) which was released shortly after you nodded off, and was the first successful movie with “B” movie themes made on an “A” movie budget, and because of Batman (1989), which was the first successful movie to take a comic book character seriously.
Now in 2017 those types of movies have all but crowded out the big budget movies with adult themes that the major studios used to make, the prestige pictures like Lawrence of Arabia (1962) and Doctor Zhivago (1965) that David Lean directed, as well as other pictures by directors such as Francis Ford Coppola and Martin Scorsese. A few prestige pictures still somehow get made and released each year, but most movies with adult themes are small budget, mostly independently produced affairs that have a limited run in movie theaters before going to a movie rental service. The big money in Hollywood goes mostly to comic book superhero movies, “B” movies made with “A” movie money, and they take themselves very seriously.
A promotional poster for the 1941 serial Adventures of Captain Marvel, with Tom Tyler on the left and Nigel De Brulier on the right. Serials like this would not even have had the status of “B” movie, since they were usually only about twenty minutes long instead of feature length, though their production values were just as cheap.
When Star Wars first came out in theaters, its director, George Lucas, knew perfectly well he was borrowing themes and story lines from old “B” movie adventure serials, and he reveled in those corny conventions with a wink at the audience, who understood the whole thing was a kitschy romp. Similarly for Lucas’s friend, Steven Spielberg, several years later when he directed Raiders of the Lost Ark (1981), an adventure yarn based entirely on the cheap movie serials of the 1930s and 1940s. George Lucas was the executive producer on that film, and both he and Spielberg, talented filmmakers who were steeped in old film lore, were like kids playing in a very expensive sandbox. Those movies made a lot of money, but still no one took their stories too seriously.
That changed with the release of Batman in 1989, directed by Tim Burton, who claimed he was never particularly enamored of comic books, but who wanted to take the tone of his film far from the campy take on the comic book superhero of the 1960s television show. Burton nonetheless injected some tongue in cheek bits into his movie, mostly in Jack Nicholson’s portrayal of the Joker, though that may have been as much Nicholson’s interpretation as Burton’s. The movie was a huge success, and studios took note of how intent the fan base was on seeing a serious treatment of the subject when the fans followed every rumor about the film’s production, especially the casting of Michael Keaton, known at that time mostly for comedic roles, as Bruce Wayne/Batman. Comic book fans were upset that the casting of Keaton hinted the film would be another campy treatment, like the 1960s television series.
A publicity still from the 1941 serial Adventures of Captain Marvel, starring Tom Tyler as Captain Marvel, here beset by two pesky foreigners.
When those same fans went to theaters and saw just how deadly serious Keaton’s Batman was, they were delighted. Ever since then, Hollywood has been ladling up more and more deadly serious comic book superhero movies to that fan base, who appear to be insatiable. Since Computer Generated Imagery (CGI) has achieved convincing results rendering the fantastic world of comic books over the past ten or fifteen years, movie producers have tripped over each other turning out more of these movies. All that CGI isn’t cheap, and a comic book movie can cost upwards of 100 million dollars to make. With a worldwide release, however, and all the merchandising tie-ins that comic book superheroes lend themselves to, a film studio can pull in upwards of one billion dollars from each movie.
A scene from the 1960sBatmantelevision series, starring Adam West as Bruce Wayne/Batman and Burt Ward as Dick Grayson/Robin, that points to the silliness at the heart of the dual identity superhero premise.
Lawrence of Arabia probably did not generate enough merchandising to be worth mentioning. It was also a complex character study, and therefore did not have the broadest possible appeal. Comic book movies do not have the broadest possible appeal, either, but they have a broader appeal than the old prestige pictures that asked some maturity of their audiences in order to understand their themes. Is this what we want? It is apparently what the portion of the public with generous amounts of disposable income and low expectations wants when they go to the multiplex, because comic book movies have come to dominate the marquee listings. It would be nice if more new prestige pictures made it onto the marquee, because those are movies worth paying to see on the big screen, and in a theater with a terrific sound system. For those moviegoers, unfortunately, these are times of poor pickings, and they might as well stay at home to watch movies on their own setup, or take a long snooze, waking up in forty years to see if “A” and “B” movies have returned to their rightful order in the alphabet.
― Vita
