Hollywood rallies behind Gibson … mostly

The LA Times has a good piece on celebrity friends coming to Mel Gibson’s defense, including Jodie Foster and several producers who have worked with Gibson. Other outlets reported support for Patrick Swayze, and I especially liked this remark from Dean Devlin:

I consider Mel one of my best friends in Hollywood. The day this happened, my wife had gotten this long letter from Mel full of congratulations [for the birth of the Devlins’ first child] and talking about the joys of being a parent. She’s Jewish. I’m Jewish. If Mel is an anti-Semite, then he spends a lot of time with us, which makes no sense. But he is an alcoholic, and while that makes no excuse for what he said, because there is no excuse, I believe it was the disease speaking, not the man.”

And the LA Times notes a good sign for his career:

“There have always been stars, like Sean Penn or Russell Crowe and before that Kirk Douglas or Frank Sinatra, whose tough-guy personas on screen allowed them to survive bad behavior off screen,” says one longtime publicist. “It’s not like he’s ever been Mr. Nice Guy.”

Apart from one producer, the most prominent named “I’ll never work with Gibson”-declaration came from comedian Rob Schneider. And I’m not sure it’s 100 percent serious. Not simply because Schneider is a comedian, but because the specific language contained in the ad sounds like there’s a subtext of sarcasm running through it. Also, there’s the pomposity of the very concept of *Schneider* taking out a Variety ad to say he’s never work with *Gibson.* I mean, without at the time knowing any of the specifics, my immediate reaction when I heard that Schneider was saying he’d never work with Gibson, was “durn it … that ruins my hopes for seeing THE PASSION OF DEUCE BIGALOW.” Check out the language of Schneider’s at the right.

Is it not at least as plausible that Schneider is making fun of the repetitively-named Bernie Brillstein? And can any reference¹ to THE PASSION OF THE CHRIST 2 or hypotheticals involving a time machine or speaking ancient Mayan be taken completely seriously?

UPDATE: Looks like my bud Bilge Ebiri had the same wtf-is-this-a-joke? reaction to the Rob Schneider ad.

But as always, SOUTH PARK gets the best line, though Comedy Central insists it was a coincidence. At the Daily Texan when I was in college, a fellow conservative columnist named Corey Birenbaum proudly took the “of course we run the world”-attitude.

———————————————————————–
¹ Ali G once mused aloud to Pat Buchanan’s endorsement of THE PASSION OF THE CHRIST that they’d just bring that character back to life for a sequel.

Reader input (and response)

A reader took exception to my reference to liberals as people who “see a picture of a shit-smeared Virgin, and smile and call it good — artistic expression.” The following exchange took place by private e-mail, reproduced here with permission from the author, who wished to be identified only as “the anonymous postmodern aesthete.” Anyway, here’s the two notes, his first.
————————————————————————
“They see a picture of a shit-smeared Virgin, and smile and call it good — artistic expression.”

I expect more from you bud. The NEA? They have not mattered in over a decade and have so shied away from controversy it is repugnant. Coming off your brilliant SOUTH PARK defense, the attack on Ofili seems especially misinformed and knee-jerk.

First confession, I have not seen the painting in question in person. That said, I have seen numerous gallery and museum shows including Ofili’s work and while he ain’t totally my cup of tea I have never, ever seen smeared shit. He uses dried elephant dung, which resembles dried mud really and it often serves as a connection to the earth, mounting the painting or as an adjunct of the canvas — hanging off it like a piece of crisp biology. The reproductions of the offending painting put it in that camp as far as I can see. The use of this material (elephant shit) never suggests disrespect in the way that a Paul McCarthy or Mike Kelley using shit might — it is so safe, dry, scentless, and aesthetically sculpted as to move beyond filth into something new.

On top of all that Ofili is a Roman Catholic of African descent and a native of England — he is exploring his African roots in his work, linked here.

Pay no attention to the gallerists and curators in the piece, rather, focus on Ofili’s stance. His work is no more blasphemous in my opinion than that of SOUTH PARK in which Jesus is hosting a hippie cable access talk show — the new age Donahue.
————————————————————————
Although I had forgotten the detail about genital cutouts from porn magazines (which would have made my point better and the relationship of which to African nature cults is unclear), I actually did know “The Holy Virgin Mary” had dried elephant poo, rather than a piece of toilet paper one second after human use.

The problem is that shit is shit — and to shit on is a signifier of waste, contempt, the lowest animality. At least in Western society, and Ofili is not a Hottentot ignorant of our conventions and language and symbology, you don’t use it, even “to make people think” or whatever other cant the curators care to use, on whatever one considers holy. He may be exploring his African roots (Zimbabwe is a rather odd place for a Nigerian to do that, but let that go), but he’s doing it on Western nickels and in a Western public space.

If I saw the painting in real life and it’s as you describe it and how it looks in that article you hot-linked for me, I might not figure out that it was shit, taking it for mud and maybe I would get the metaphor or maybe not (it sounds at one and the same time obscure and ham-fisted).

You tell me to ignore the curators, but you really can’t. Truth be told, I think that’s the real cause of the fact I have zero interest in the contemporary art world. Were I to see “The Holy Virgin Mary” and take it for mud, there’d still be a panel next to it or a program guide *telling me* it was shit and extolling the work’s daring at epatering the bourgeoisie and “asking questions,” and the narrative of “Pretentious Blaspheming Artiste” then clicks in and I check out. Even if it may be wrong in a given case, it’s hard to deny that the art world and the culture crowd are asking for (literally) this kind of reaction.

Further, I’m not so sure Ofili stands so apart from the curators. Here’s the article’s nut quote:

“I don’t feel as though I have to defend it. The people who are attacking this painting are attacking their own interpretation, not mine. You never know what’s going to offend people, and I don’t feel it’s my place to say any more.”

Refusing to explain his work, reducing it to interpretation disagreement, and, this is the richest part, *You never know what’s gonna offend people.* Really?

At some point in the future, I’ll write a lengthy exigesis of the portrayal of Jesus in SOUTH PARK. Suffice it for now to say that he is one of the few characters in the show who does not manifest a caricatured to-the-nth-degree extreme form of one or more vices.

Culture vs. religion

Mark Shea has a bee in his bonnet about an article in the City Journal. I suppose I might agree with him if the article he was responding to ever claimed that American conservatism *is* eternal. But the article is entirely about the culture we live in, not theology or soteriology, so necessarily it’s about temporal things, the things of the age, Augustine’s city of man, where virtues (albeit imperfect ones) can be found even from the Romans. We judge temporal things primarily by temporal standards, under prudence — not eternal ones, under judgment.

So considered *as cultural-political criticism,* Mr. Shea doesn’t lay a glove on the article. When he says “Try, seriously, to square the worldview of contempt which informs South Park with Catholic teaching,” he’s missing the point. The article makes it clear that South Park’s virtues are negative ones — it’s the enemy of the enemy. This is not exactly a friend, but in the world of politics, that’s close enough. In addition, you can only engage a culture (either politically or religiously) where it is, otherwise it tunes you out. Nostalgia-based condemnation of the age is not a serious stance, certainly culturally-speaking. In this ironic day and age, THE BELLS OF ST. MARY’S ain’t gonna cut it. I remember as a boy hating Mickey Mouse because I thought it was too much like education and moral uplift, and there was something about Bugs Bunny’s insouciant poise that was more attractive. Mickey could have had imprimaturs out the wazoo, but it wouldn’t have mattered to me because I didn’t like him. Flannery O’Connor talked about saving your work first. One of John Paul’s greatest virtues is being the first mass-media pope, understanding that you engage people where they are, and if the world has a comic-book culture, then make a comic book out of your biography.

I’ve already written some of my own thoughts about South Park, and wish only to add that a new season of 8 episodes began last week and that there has to be good in any show where all the Gay Guys Who Dress Up The Breeder, or whatever it’s called, get killed. It’d be impossible to deny that the show has a tone of contempt, but there’s a gleeful quality to it that is equally impossible to miss and which makes the show a valuable satirical weapon for these times. I’d compare South Park to Camille Paglia — not orthodox, but friendly because it has all the right enemies to have in this day and age. I frankly wonder whether Mr. Shea, who repeatedly rails against TV as such, has seen very much of the show, of which he does not cite a single moment.

I’m also massively unconvinced by Mr. Shea’s implicit “a pox on both your houses” moral-equivalence stance toward politics. It strikes me as imprudent and makes the perfect the enemy of the good. American conservatism is definitely imperfect sub specie aeternitis, but Catholics and Christians can find much common ground and get a serious hearing without contempt for our very existence and the belief that we are the enemy as such — the “keep your rosaries off my ovaries” attitude. With conservatism, the spirit is willing, even if the flesh is sometimes weak; with liberalism, the spirit is in total league with the Enemy. *That* is what the culture war (on which Mr. Shea does brilliant service on the side of the angels) is all about; whether Christianity can inhabit the public space or whether progress is measured by how thoroughly it can be repudiated. There is an absolute difference here between the two dominant ideologies and parties, and Christians should not kid themselves about who their friends and enemies are.

If Tolkien really, truly intends “The Lord of the Rings” as some sort of global indictment of “Power,” then I feel vindicated in my aesthetic resistance to him — I was pretty tepid on the two movies and cannot comment on them as novels because I found them unreadable. It’d be good therefore to know, if that account is accurate, that they’re also pretty silly. A serious politics cannot begin with the notion that power is some evil Ring. It is all fine and good to say render unto Caesar, and that the regime doesn’t matter because the gates of hell shall not prevail, etc. But the Catholic Church has never taught political quietism, and frankly I’d rather see the Body in a friendly culture and polity than an unfriendly one, if I can affect the matter at all (and again, *that I can* is the unstated assumption of all political and cultural engagement). But maybe that’s just me. The question is not whether there shall be worldly power, but who shall wield it and for what ends — relatively good ones or relatively bad ones. Ones hostile to Christ or friendly to Him.

Friendly faces everywhere …

I just watched a TV show in which a sympathetic character looks to the screen and says (paraphrasing from memory only a little) “Schools are handing out condoms to kids at a younger age every year. But sex is also emotional and spiritual. Parents should be the ones who teach children about sex. If you leave it up to the schools, you never know who’s gonna be teaching them.”

As an example of the kinds of people who teach school sex ed, the camera cuts to a closeup of a woman whose breasts have sunk to her knees. And is named Miss Choksondik.

I hope you know what show I’m referring to. If you don’t, you really need to check out SOUTH PARK. Caveat: if you are appalled at the last sentence in that graf and can’t imagine ever laughing at jokes that crude (in both senses of that word), you probably don’t. But both forms of crudity are part of what make the show great. For those of you in Pago Pago, the R-rated humor in this very adult cartoon mostly follows 8-year-old kids with mouths like sailors (call it KIDS SAY THE DAMNDEST SHIT). It is *really* over the top and in such calculated ways, that to complain about it as such is to miss the point.

When 8-year-old boys decide they want to be lesbians just like their new teacher Miss Ellen and one of them starts chewing on a rug sample — the joke isn’t just the shock of hearing a locker-room term for lesbian sex, but on the literal-minded innocence of the boys in the midst of it all. It’s as if the show is about G-rated kids souls in R-rated bodies or the different forms that innocence must take in an R-rated world.

Also the show is most merciless on liberal cant. Other episodes have had Big Gay Al (yes, that’s his name … thanks for asking) explain why he *shouldn’t* be allowed to join the Boy Scouts or have the boys learn that patriotism involves love of country even when it’s wrong (and reprises World War II by turning Cartman and Osama bin Laden into versions of Bugs Bunny and Elmer Fudd).

And Saturday’s episode made the obvious point never made in humorless, wonkish discussions of sex ed — would you have wanted to learn about sex from any teacher you ever had? It also follows the theory of sex ed with impeccable logic, to demonstrating fellatio methods to kindergartners (and it doesn’t shrink from, well … ahem). Flannery O’Connor once made the point that to the hard of hearing, you shout. She also said the time had passed for what she also called “the pious voice.” Social-conservative satire is working its way into the culture through this raunchfest, and while the show will definitely “frighten the horses,” in a world that, so to speak, worships horses, that’s not a bad thing.