“Human beings will always betray you. You can only trust the numbers.”

Well-chosen images (sometimes picked for more comic effect than illustration) keep the thing entertaining while it lectures us. Good use of stock footage and music (incl. Yo La Tengo’s “return to hot chicken” and “nowhere near”).

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PART 1

Post-Depression-and-WWII expansion of American gov’t in order to “control the economy and protect society from the dangerous self-interest at the heart of capitalism.”

Friedrich Von Hayek predicts tyranical outcome from gov’t planning and control of society, says everyone pursuing their own individual self-interest should lead to social order.

Intro of game theory and cold war strategy.

John Nash enhances Hayek’s theory, shows that “rational pursuit of self-interest” leads to a happy equilibrium, but after Nash was locked away to treat his schizophrenia, his coworkers tried to adapt his theories. Nash one of the few theorists and politicians who comes off looking kinda good at the end, saying that he was wrong and that his theories were mis-used.

RD Laing investigates schizophrenia, discovers a treatment (getting affected people the hell away from their horrible families) and a related scary fact, that sane people can be sent to an asylum and believed to be mad. Develops system to quantify personality disorders and remove subjectivity from diagnosis.

James Buchanan argues that politicians’ working for what they call “the public interest” is deceptive, greatly influences Margaret Thatcher. Sets up number-based productivity targets for health-care employees to “free” them based on Nash’s simplified vision of purely selfish individuals.

PART 2

John Major sets out to harness the individualism of public servants through liberating paradigm of the free market via performance targets.

Greenspan and Clinton’s economic advisor tell Clinton that his programs won’t work, needs to move to market-driven society and government.

“Freedom was redefined to mean nothing more than the ability of individuals to get whatever they wanted.”

When he talks about misinterpretations leading to this market-driven society, John Carpenter’s sinister “Halloween” theme kicks in… nice.

An anthropologist actually named Napoleon did a bizarre observational experiment which “proved” that game theory can be applied to the genetic level, that humans, like other animals, are self-interested machines.

“With the rise of this machine model of human beings a new idea of how to change society began to emerge, not through politics any longer but by adjusting how well the individual machines function” and into “a new form of order and control” in the form of imagined new mental disorders and treatments such as prozac. And the drugs turned them into simpler beings, closer to the machine model.

Meanwhile, performance targets weren’t working, corporate crime was huge, and class division was greatly increasing.

PART 3

Overview of how these simplified machine models of human behavior and other stupid theories led to increasingly bad policy decisions in England and the US, into an intro to Isaiah Berlin. I thought I kept notes during this one, even remember spelling out “Isaiah Berlin” but I can’t find them. So here’s wikipedia:

“Berlin is best known for his essay Two Concepts of Liberty, delivered in 1958 … at Oxford. He defined negative liberty as the absence of constraints on, or interference with, agents’ possible action. Greater “negative freedom” meant fewer restrictions on possible action. Berlin associated positive liberty with the idea of self-mastery, or the capacity to determine oneself, to be in control of one’s destiny. While Berlin granted that both concepts of liberty represent valid human ideals, as a matter of history the positive concept of liberty has proven particularly susceptible to political abuse.”

Tony Blair tried at least, sending Berlin a letter asking for advice, but Berlin was on his death bed and never responded. Bunch of sadness ensues, and the movie’s ray of hope for humanity’s future only appears in the final sentences. I will have to watch this part again.

Overall a helluva terrific movie. I want to see it again and I want everyone everywhere to see it also. Katy even almost watched it with me.

Addendum JAN 2011:
Watched again with Katy and I was thrilled that she loved it also. We talked about how damned clever, well-researched and respectful of its audience it seems to be, and how all other documentaries seem lessened in its wake.

From writer Mick Garris and director of Snoop Dogg horror Bones, I wasn’t expecting much. It’s actually a kind of alright movie in search of direction from a better script. The young actors are fine, the ringer Michael Ironside (Scanners, Starship Troopers) is suitably awesome (but he’s no George Wendt) and the atmosphere and horror elements are there, but the story is slack and pointless.

Opens with kids playing Violent Video games (v-words) and one of ’em fighting with his dad over the parents’ divorce, then suddenly it’s all Stand By Me as they head for the funeral home to check out a dead body. Long, “suspenseful” (actually kinda boring) scene follows checking out the home and finally (finally!) discovering it has been taken over by Vampire (v-word!) Ironside (which doesn’t make a whole lot of sense since the movie later emphasizes that vampires can only drink blood from the living). Long story short, both kids become vampires, one kills himself and the other heads for New York to join the cast of Blade.

Okay, any show that opens with George Wendt dissolving his father in a bath of acid is gonna be good. Never quite lives up to its promise (or its predecessor, “Deer Woman”), but it gets 80-90% there, and that ain’t bad at all.

His coolest horror role since House:
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Young couple moves in next door to utter lunatic Wendt. Besides being a bit socially awkward, he’s also creating himself a lovely family of well-dressed skeletons in an upstairs room and imagining whole conversations (even fights) with them. Young couple is an investigative reporter and an ER doctor whose daughter is part of Wendt’s family. Turns out they have tracked him down in order to torture him to death, a perfectly horrible ending (and I mean that as a compliment). Some of the couple’s own fights, which we assume are about deciding to have a new baby, are actually about deciding to go through with the murder plot, a detail which makes the somewhat-slack middle of the episode come to life upon reflection. And the more lighthearted & comedic moments come from Wendt’s delusions and the care with which he assembles and dresses his skeleton family, so it’s probably a darker piece than “Deer Woman”.

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Time to trudge through the rest of MoH season 2, since season 3 (now called “Fear Itself” and moved to a network) isn’t due till summer (or later, thanks to the writer’s strike). Looks like Gordon, Carpenter and Anderson will be back along with Mary Harron and Ronny Yu, all very promising. But for now, there’s nothing better to half-watch while I pay bills and wrap ebay packages than a TV movie by Tobe Hooper.

It’s hard to say if this movie is worse than “Dance of the Dead”, but I think it might be. Inconsistent, blurry storytelling (patched over, but not enough, by character voiceover, even after that character has died) with that annoying overlapped visual effect used in “Dance”, and a story that leads nowhere and explains nothing, and not in a “increase suspense by withholding information” way. At least the inexplicably-acclaimed “Pelts” was a straightforward story, and at least “Dance” had that beautiful end-of-the-world rain-of-death moment. This has got none of that.

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Either this one dude or the whole town (or a neighboring town?) has a history of violence. Once every generation, they go berserk and kill each other. Or some of them do. And this is related to a demonic force or possession and/or oil in the ground and drips from the ceiling. Traces of the infectious family violence plot in “The Screwfly Solution” but to no purpose. Sometimes the damned thing is under the ground, external force, and sometimes it’s inside someone

One effective horror bit has a guy killing himself in the head with a hammer. It’s not clear why he turned on himself instead of the people around him. Ted Raimi is cast as a killer priest, but he can’t help much. A mess of a flick. That’s okay, I didn’t expect it to be very good.

Ted Raimi:
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“He was dead before he was killed, which medically makes him a zombie.”

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Fourth-season Halloween episode of “CSI: New York”. Whoa, I’ve never watched this show. Forgot about The Who theme song and star Gary Sinise. Written by staff writers of this show (also of “24” and “Demolition Man”)

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Opens with Bruce Dern telling spooky stories and being attacked by a zombie. Lots of sudden zooms into wounds. The CSI team’s job and hi-tech equipment look fun. There’s a zombie walk, or “zombie flash mob”.

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I am very disappointed that there was no unexplained supernatural activity in this episode. Guy fakes his own death for insurance, only to be whacked by his wife with a cricket bat after crawling out of the coffin. And family murder/suicide turns out to be just murder, ex-resident returned to the house + whacked ’em all.

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Movie starts and I am happy. Remote women’s clinic picks up a girl in trouble, then her father, a possibly dangerous anti-abortion religious nut with three gun-happy sons, drives up. Window rolls down… it’s Ron Perlman! You do not mess with Ron Perlman!

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Turns into a precinct/assault movie, which I have no problem with, but uh oh, where’s the horror? Oh, the girl was raped by demons, and her demon baby is about to be born (spoiler: it’s a flesh-colored spider with a doll head) and nothing can stop that and its demon father will rise up from the ground to claim the baby!

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So, pretty stupid. I could at least forgive it that, but that twice, twice!, a character (perlman, one son) comes up against the demon in a hallway of the clinic during the assault, gives an uh-oh look, camera cuts to demon looking all demony… then nothing. Did that low-rent demon suit not offer enough freedom of movement to take a swipe at a guy’s head? Anything? Anyway, girl shoots her baby and demon wanders off. Movie manages not to be an adequate comment on abortion, religion, clinics, fanatics, motherhood or demons.

Percussive score written by Carpenter’s son is the worst movie music I’ve heard since Goblin was in business.

Movie still gets points for having Ron Perlman in it.

“Washingtonians” may still be the stupidest episode of this “Masters of Horror” season so far, but this one is outright the worst. The others have been falling over themselves trying to find a new twist (“I know! george washington was a cannibal! oooh, killer ice cream man and if you eat his ice cream you TURN INTO ICE CREAM!”), but this one gives us no reason to watch, recycling three tired old horror concepts and adding no new style or twist or excellence:

1. guy is afraid of a thing [water] and must confront that thing [go on a boat ride with his boss and boss’s wife whom guy is secretly sleeping with].

2. guy and boss have killed people in the past [guy’s brother drowned, boss killed his ex-wife] who come back as ghosts to haunt them.

3. things keep happening that were just a dream… or were they???!???!??????!!!?

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Guy’s dead brother wasn’t killed on purpose so in the end he helps take care of the malicious dead ex-wife. Still, guy and boss’s wife are left floating out in the ocean at night, and guy is bleeding from the leg, so I hope sharks eat them before morning.

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I only half paid attention. Writer of Ring/Dark Water (who is starting to seem obsessive about drowning) and director of Scarecrow and Ring 0. The boss played the lead in “Audition” and the not-as-good white guy starred in “Captivity”.

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Made me more upset/queasy than any episode since “Cigarette Burns”, and includes possibly the worst stabbing scene I’ve ever watched. No sense of humor here, it’s a dark, pure horror, sort of unexpected from the usually jolly Joe Dante. Definitely the most successful movie from this season so far (still got 5 episodes to go), more so than the relatively lighthearted “Right To Die”.

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Elliott Gould (of American History X and the Oceans movies) and Jason Priestly 90210 are scientists called in by the military to explain/study a spreading phenomenon of mass murders by men against women, seemingly tied to a hormonal virus similar to that manufactured to exterminate the screwfly. The disease spreads, seen through the eyes of Priestly’s wife Anne, until she’s one of the only surviving women, catching a glimpse in northern Canada of the “angels” that started it all.

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Really a dreadful and well-made little apocalyptic movie, a mini masterpiece up there with “Homecoming” and “Cigarette Burns”.

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Opens on a dark highway that looks suspiciously like the one in “incident on and off a mountain road” and maybe “pick me up”.

Stupid story that just gets more ridiculous as it goes. Guy moves into his grandparents’ old house with his family, finds scroll written by George Washington talking of eating children and carving forks out of their bones. Finds out it’s true and there’s an evil secret group devoted to keeping this secret and carrying on the eating/carving while wearing powdered wigs.

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A seems-familiar-but-I-guess-he’s-not-after-all Saul Rubinek plays the professor friend who summons the swat team at the end. Our male lead starred in “8mm 2”, his wife is a cartoon voice actress named Venus, evil lead was in MST3k-featured “The Dead Talk Back”. Based on a short story by a guy named Bentley. Aaaand our director, a 70-year-old Hungarian, made “The Ruling Class” and “Species 2” (those are really his horror-master qualifications?) and is supposedly now filming his next movie in Atlanta.

MoH motifs: skinlessness (not really, but someone does get threatened).

Closing joke after the news gets out and Washington has been nationally discredited, “they switched georges”:
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