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#177 - The Lie That Tells The Truth (Patreon)

Published:
2020-10-14 15:01:21
Edited:
2020-11-29 20:04:10
Imported:
2024-06

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What is real? What is fake? What is art? Is there such thing as expertise, and who should be the arbiter? Is there such thing as objective reality? When is a lie more true than the truth? Orson Welles's groundbreaking essay film F FOR FAKE (1973) doesn't provide answers to these questions, so we do our best to fill in the gaps. PLUS: we brainstorm ideas for the inevitable Austin Powers 4.

"The Myth of the War of the Worlds Panic" by Jefferson Pooley and Michael J. Socolow - https://slate.com/culture/2013/10/orson-welles-war-of-the-worlds-panic-myth-the-infamous-radio-broadcast-did-not-cause-a-nationwide-hysteria.html

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Comments

Mark K

I have this quote saved from when Pierre thinks he’s a big shot since he went to Scotland and found out what Freemasonry is *really* about, then tries to explain it to everyone: "Pierre was struck for the first time at this meeting by the infinite diversity of human minds, which makes it so that no truth presents itself to two people in the same way. Even those members who seemed to be on his side understood him in their own fashion, with limitations and alterations which Pierre could not agree to, since his main need consisted precisely in conveying his thought to others exactly as he understood it himself." -Leo Tolstoy, War and Peace, Book II, Chap.7

Tony Mines

We finally heard Luke Savage approach an impersonation with the confidence and Joi De Vivre of a Will Sloan. I think it's valid to look at and criticize Austin Powers through it's intended reading as an End of History movie, but something strikes me about the character dichotomy upon which the diogesis hinges, that points to a misogyny present in it that is less historically contingent than it claims. What I realised is that Austin Powers (1997), in which a liberated man from the 1960s is frozen in time and wakes up in a top-buttoned 1990s, Demolition Man (1993) in which a liberated man from the 1990s is frozen in time and wakes up up in a top-buttoned future, and even Buck Rogers (1979) in which a liberated man from the 1970s is frozen in time and wakes up in a top-buttoned future, all have the exact same character dynamic wherein the protagonist's confident bravado rubs against the female lead, who's social liberation and success is framed as having been traded for a frigidity - both learn from each other and arrive at an empowering, sexy, middle ground. I think it's informative how the film adopts a story trope that can be found repeated verbatim in any and all of the time periods I describe (including, we can reliably say, the 'future' ) to make claims about changing gender dynamics.