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« Republicanism vs. Conservativism at the movies | Main | "I don't know, I'm making this up as I go." »


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Thanks for the link, just noticed - When I get around to having links, I'll have to reciprocate. A movie about the real Bush Presidency cannot be made. It's too unbelievable to work as a script. So, in the meantime, the scripts I'm posting, about people in the Dubyaverse, will have to do.

Nixon is still a great source for ideas - Read the Haldeman diaries when you get a chance. The Nixon tapes are also like a window into a part of our national subconscious. Fascinating.

The Viscount

What started out as a comment to this post evolved into Republicanism 101 over at my place. Your blog is a consistent source of inspiration.


Ah-hah! That's why the laid-back Jesus was giving me the creeps. I knew he was in something else, but couldn't think of it.


Hollywood will eventually make whatever enough people want to watch. I agree that you'll probably never see the anti-liberal-trope movies you described made, but it may be that they just don't write -- or sell. It may be possible to make a good, entertaining movie about a diligent, ethical, hard-working constructive businessman, and I'd like to see one, but I can't imagine how it would write. The other movies would be just too damn dull.


Oh, god, that movie is _hilarious_. Thanks for the link!


"For the most part, even in movies featuring Right Wing strong men or Idyllic McMansion-filled suburbs, corporate business types are invariably bad guys, spotted owls and snail darters should always be saved even if it means not building the shopping mall"

That's not really a correct intrepretation. Yes, INDIVIDUAL businessmen are depicted as bad guys. Those individual businessmen are evil for their own perverse individual reasons, but not capitalism or corporations as a system. The thinking is intentionally non-systematic and anecdotal, and the implied solution is equally ludicrous: the hero kills/arrests the evil businessmen, and the remaining good businessmen take over the corporation and make it good. There is no criticism of capitalism as a whole here.

Equally there is no systematic way to oppose the bad businessmen within the world of the modern action movie. There are literally no suggestions that other economic systems could even potentially exist, or that workers or citizens have ever had any collective or democratic way of fighting "evil" businessmen.


"There are corrupt Union officials in the movies, but one of the ways they are corrupt is by being on the side of the bosses and their comeuppance isn't the busting of the Union but losing control of it to honest working men and women who will then stand up to the bosses."

First, it's extremely wrong to associate action movies after the Lucasberger revolution with movies either within classical Hollywood or the cinema of liberal America (1943-1972 or so) or independent cinema. We mainly see unions primarily within movies made by outsider directors closely associated with the Left such as Kazan, Dassin and so forth, primarily in a short period in the late 40s and early 50s.

Outside of very particular historic moments and individual productions, workers as a class don't exist. Focusing on the Lucasberger era, it's even worse - nobody below very upper middle class exists. Modern movies depict "middle middle class" as a partner in a major law firm or a successful architect with his own firm or doctor with a thriving suburban practice - in reality, most of these would be firmly in the very wealthiest sections of society. There's no depiction of unions because there is no realistic depiction of ANY workplace (which makes sense since the core audience of modern action movies is boys aged 12-24, who have no substantive experience in the workplace).

Thom Anderson, in his masterpiece movie "Los Angeles Plays Itself" notes that the depiction of economic realities within modern action movies is quite literally insane. Unemployed writers rent large Malibu beach-front houses. A book store clerk lives in a house in the Los Angeles hills with a 180-degree view. Cops live in ultra-modern spacious condos with beach views.

Conversely, the urban poor live in the movies in an environment that resembles a bombed-out Berlin in May 1945. No attempt is made to show that many sections of South Central Los Angeles and East Los Angeles, though poor (and there are very wide variations within those two vast areas), have vibrant commercial districts, arts institutions and public buildings.

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