I have much to be thankful. God has blessed me with a wonderful wife, two fabulous sons, dear friends and relations, a superb career in teaching, and a beautiful Montana retirement. Mine is a blessed life. Personally, it’s sunny. Extending the purview nationally, though, dark clouds are looming. Much of the dread emanates from Hollywood.
Speaking of the weather, in the language of climate change – the fad-issue of the day – the word of choice is “anthropogenic”, or “man-caused”. Our current political and cultural storm is anthropogenic by definition. Reality is being distorted through the funhouse mirror of Hollywood and the near uniform bias that permeates the great bulk of our media. It’s sad that informed contemplation has been replaced by this stuff.
I’m reminded of our constant flirtation with Hollywood’s diseased mind in the productions that roll off the entertainment industry’s assembly line. Take for example Netflix’s “The Crown”. The third season is upon us and my wife and I have seen them all in binge-watching forays. It’s a soap opera, and it isn’t history; however, there’s not much standing in the way for it, and most of Hollywood’s other affluence, from becoming the History. After all the schooling from K through PhD to the tune of trillions of dollars every year, a 19th century pioneer in an isolated homestead on the Great Plains is better equipped to handle the cultural noise than today’s typical upper classman in a university’s ASB. For them, and probably the bulk of streaming subscribers, the noise is mistaken for the music because there’s not much in the head to contradict it.
After viewing the last episode of season 3, I have a chance to ruminate on what I’ve seen. My conclusion? It’s entertainment, not history – and extremely opinionated entertainment at that. The butchering of important personages in the life of Queen Elizabeth Il, especially those on the right, is all too obvious. Churchill is reduced to a whimpering and emotional wreck. The reality of his forthrightness is hard to perceive in his frequent, blubbering downpour of tears. In an attempt to build up Elizabeth in relation to the old white guy, the script writers concocted the fantasy of a young Queen Elizabeth lecturing the elderly Churchill on some point of the British constitution in season 1. It’s absolutely unbelievable, but maybe believable to a poorly informed audience.
Prince Philip comes in for analogous treatment. In the course of 3 seasons, I can’t recall an instance of his influence and advice being treated in a positive and sagacious light. How could somebody spend an entire life and be wrong throughout? I have my doubts. Counterpoint is a useful plot device, but this one presents a towering female Socrates to a bumbling prince consort. Could this be another opportunity for Hollywood to present the “other” upstaging the patriarchy? Maybe not, but it’s a familiar theme in everything from ads to movies. The zeal to correct for a generalized “wrong” leads to a fiction that will be mistaken for non-fiction in a population unable to draw the distinction.
Take the character of Margaret Thatcher in this last season. Her character is molded into an emotionally scarred, rigid scold with strangely misogynistic tendencies. Imagine it, the worst of Britain’s aristocratic and sexist good ol’ boys in their men-only clubs have nothing on Britain’s first woman prime minister according to the people who put this thing together. The incongruency is profound.
Interestingly as a matter of fact, it’s well-known that she loved her mother.
To make this portrayal a functioning theme, the setting of the 1970’s is stripped from the story. Other than a brief reference to strikes that lead to energy shortages during the tenure of Labour prime minister Harold Wilson – who’s portrayed positively by the way – we’re not given much to understand the reasons for the rise of Thatcher.
Let’s plow the fields of real history. In the 1970’s, the UN’s OECD had projected that the UK was on a glide path to the economic status of Albania. The unions had crippled the country with rampant strikes. Garbage wasn’t picked up due to strikes as shortages and inflation plagued consumers. Government-owned industries were mismanaged black holes at huge public expense. Anthony Scargill, President of the National Union of Mineworkers, an avowed Marxist, held the country hostage with his demands and strikes that periodically cut-off of the coal supply. The UK was a mess and ready for Thatcher. Don’t tell me that there wasn’t room for that context in a multi-season serial instead of the excursions into Princess Diana’s anorexia-bulimia.
Litter mounted on the streets during the Winter of Discontent as collectors went on strike
The Falklands War gets all of . . . 10 minutes . . . at most. And then it’s only mentioned as a backdrop to Thatcher’s narcissistic grandstanding. The reawakening of pride of country, and the magnitude of the success, was reduced to the scene of a self-absorbed Thatcher in a victory parade’s grandstand. The fact is lost on the producers that the success in the Falklands War gave Thatcher the breathing space to make headway in de-socializing the country. A much freer economy, a legacy of Thatcher’s reforms, would make possible the more prosperous UK of today.
And then there’s all the intimate dialogue. Where’d that stuff come from? Sure, the script writers have to put together a story by stringing the characters in verbal interaction. But most of it was most certainly contrived. There was no-one in the rooms of private quarters taking dictation on the conversations. It’s a tool in the scriptwriter’s kit to craft the character for certain plot purposes. It’s also how ideological zealotry can infect a story, and replace reality with a politically useful unreality.
Be prepared for next season. It’s likely to be Diana, more Diana, and Diana all the time.
Am I going to hang out in front of the tv when season 4 arrives? I don’t know. I’m inclined not to. I have no appetite for the elevation of ex-Princess Diana to sainthood.
RogerG