So the clock on the old computer tells me there's only about a half hour left for Patriot Day. I hope you've celebrated this glorious occasion with all the pomp and festivity it deserves, by singing Patriot Day carols, giving Patriot Day gifts, and, I dunno, jerking off to Powerline, or whatever the fuck else it is you're supposed to do on "Patriot Day."
You have to hand it to the Bushites and the wingnut hordes, and (of course) their media enablers. They've not only managed to turn one of the most traumatic single days in American history into a machine for short term political gain, a Zozobra wheeled out to gin up support for their insane foreign policy jihads -- they've also managed to turn the deaths of 3,000 people into retarded, badly done kitsch. People jumped out of windows to their deaths... so, well, fuck empathy and decency and basic humanity and all that candyass bullshit, c'mon kids, let's put on a show.
I refer of course to ABC's The Poop to 9/11. Ack.
Not that I watched it. Not merely because it seemed like a pack of childish lies, but also because it looked even more boring and inane and insensitive than the usual run of the mill network garbage. I was not so much driven to outrage by the crassness of the whole dishonest spectacle than I was driven to sullen, vituperative grouchiness. For one thing, that is my normal mood anyway. For another, I was blugeoned to numbness by the sheer pointless bloodymindedness of the entire misbegotten enterprise. It was not the lying, it was the schlock, to parody late 1990s discourse entire.
I mean, I in fact disagreed with Digby, who said
The reason this matters so much, and why Democrats are so apoplectic at the way ABC has handled this material, is that popular culture has a way of inculcating certain concepts into people's minds, especially young minds, far more effectively than talking head programs or earnest debates among political bloggers and columnists. This is the kind of thing that could taint the debate for generations if it takes hold.
Obviously, the miniseries "matters," and should be denounced and jeered at. But I don't think it will influence generations to come; hell, I don't think it will influence anything but ABC executives this week taking lots of Maalox before they're asked to open a vein for greenlighting this televisual abortion.
TV miniseries like this used to be very influential. But then, that was only for a fairly brief period of time, a golden or at least bong-drenched age when cable was still in its infancy and the networks bestrode the American cultural landscape like a colossus, albeit a tight-jeaned, crotch-bulged, feather-haired Bo Duke colossus. I refer of course to the 1970s.
Probably the most influential TV miniseries, like, evar! was Roots. (Actually, I can't think of any others that really mattered. Maybe I'm just whiffing mentally. But Roots certainly was a phenomenon. There were lots of minseries after that, but they were all biting Roots's jock.) And how do I know Roots was influential? Because everyone of a certain age knows who the fuck Kunta Kinte was.
Sure! But then, beyond that, the question of what exactly Roots influenced, and how much, is an open one. Aside from Kunta Kinte, what else do people remember about Roots? Uh... It's that slavery sucked major ass, and thank FUCKING CHRIST we don't do that cracker assed slavery shit anymore.
Roots succeeded because in even the most regressive parts of the country it was maybe ten years late for real controversy by the time it was made. Even the most head-up-the-ass bigoted bastards in the country in 1977 (and I lived next door to some of them) would have looked stupid trying to oppose Roots on straight-up racist grounds -- at least on network TV. Roots was not, you see, for all its virtues, any more of a challenge to institutional racism than was the runaway success of What's Happening!!, the show that broke the superfulous exclamation-point barrier and dared to rip the lid off the terrifying epidemic of black Californian adolescents illegally taping Doobie Brothers concerts.
The point is, aside from wholly gratuitous Rerun-bashing, that network television in general does not break debilitating social or cultural taboos. That's an illusion. Rather, it waits until they're already broken, and then more or less gingerly moves in and acts "brave" by confirming that they're indeed defunct by blessing them with the Sanctifying Grace of a Very Special Network Event. Which is not to say that Roots sucked, or was not worth doing, or anything similar. It's just to say that network television would never have filmed the thing unless it were already assured in advance that by doing this "groundbreaking" miniseries they would be showered with plaudits for acting all "groundbreaking." In other words, if other, actually brave people had not already stood up and risked having their asses hung from trees for defying American racism, and thus prepared the grounds for the eventual discrediting of at least overt, John-Birchy racism in "respectable" American cultural discourse, Roots would not have been made.
So, to get back to this 9/11 miniseries debacle. First, the evidence is mounting that the disaster was perpetrated by a gang of wingnut loons. If so (it's so), what is impressive is how badly they botched this shit. Though it makes sense, weirdly... I'd bet you a nickel that these assholes remember and still resent the success of Roots, because it seems like they're trying to ape it -- right down to the nonsense about having Scholastic provide cartoonish shit to schools, just like they did back in the day. I certainly remember the stuff they gave me when I was a PS 41 lad, all those handouts about Roots. Of course, I remember the stuff they gave us about a Very Special episode of The White Shadow even better, because it was funnier. But still.
More to the point, networks are just not what they used to be:
capturing the high grounds of ABC's Entertainment Through Joy Division
hardly means ultimate victory in the culture war when everyone has the
handy alternative of cable, not to mention hot n' cold running
Internets porn.
Network miniseries follow the zeitgeist. They don't, and can't create it, though they can reinforce it. This wingnuttery is stillborn. Nobody who already isn't a right-wing wanker wants any part of their embarassing 9/11 pornography and masturbatory historical revisionism.