RIP INF Treaty: Russia’s Victory, America’s Waterloo

By Dmitry Orlov

Source: Club Orlov

On March 1, 2018 the world learned of Russia’s new weapons systems, said to be based on new physical principles. Addressing the Federal Assembly, Putin explained how they came to be: in 2002 the US withdrew from the Anti-Ballistic Missile Treaty. At the time, the Russians declared that they will be forced to respond, and were basically told “Do whatever you want.”

And so they did, developing new weapons that no anti-ballistic missile system can ever hope to stop. The new Russian weapons include one that is already on combat duty (Kinzhal), one that is being readied for mass production (Avangard) and several that are currently being tested (Poseidon, Burevestnik, Peresvet, Sarmat). Their characteristics, briefly, are as follows:

• Kinzhal: a hypersonic air-launched cruise missile that flies at Mach 10 (7700 miles per hour) and can destroy both ground installations and ships.

• Avangard: a maneuverable hypersonic payload delivery system for intercontinental ballistic missiles that flies at better than Mach 20 (15300 miles per hour). It has a 740-mile range and can carry a nuclear charge of up to 300 kilotons.

• Poseidon: an autonomous nuclear-powered torpedo with unlimited range that can travel at a 3000-foot depth maintaining a little over 100 knots.

• Burevestnik: a nuclear-powered cruise missile that flies at around 270 miles per hour and can stay in the air for 24 hours, giving it a 6000-mile range.

• Peresvet: a mobile laser complex that can blind drones and satellites, knocking out space and aerial reconnaissance systems.

• Sarmat: a new heavy intercontinental missile that can fly arbitrary suborbital courses (such as over the South Pole) and strike arbitrary points anywhere on the planet. Because it does not follow a predictable ballistic trajectory it is impossible to intercept.

The initial Western reaction to this announcement was an eerie silence. A few people tried to convince anyone who would listen that this was all bluff and computer animation, and that these weapons systems did not really exist. (The animation was of rather low quality, one might add, probably because Russian military types couldn’t possibly imagine that slick graphics, such as what the Americans waste their money on, would make Russia any safer.) But eventually the new weapons systems were demonstrated to work and US intelligence services confirmed their existence.

Forced to react, the Americans, with the EU in tow, tried to cause public relations scandals over some unrelated matter. Such attempts are repeated with some frequency. For instance, after the putsch in the Ukraine caused Crimea to go back to Russia there was the avalanche of hysterical bad press about Malaysian Airlines flight MH17, which the Americans had shot down over Ukrainian territory with the help of Ukrainian military.

Similarly, after Putin’s announcement of new weapons systems, there was an eruption of equally breathless hysterics over the alleged “Novichok” poisoning of Sergei Skripal and his daughter. A couple of Russian tourists, if you recall, were accused of poisoning Skripal by smearing some toxic gas on the doorknob of his house some time after he left it never to return. Perhaps such antics made some people feel better, but opposing new, breakthrough weapons systems by generating fake news does not an adequate response make.

Say what you will about the Russian response to the US pulling out of the ABM treaty, but it was adequate. It was made necessary by two well-known facts. First, the US is known for dropping nuclear bombs on other countries (Hiroshima, Nagasaki). It did so not in self-defense but just to send a message to the USSR that resistance would be futile (a dumb move if there ever was one). Second, the US is known to have repeatedly planned to destroy the USSR using a nuclear first strike. It was prevented from carrying it out time and again, first by a shortage of nuclear weapons, then by the development of Soviet nuclear weapons, then by the development of Soviet ICBMs.

Ronald Reagan’s “Star Wars” was an attempt to develop a system that would shoot down enough Soviet ICBMs to make a nuclear first strike on the USSR winnable. This work was terminated when Reagan and Gorbachev signed the Anti-Ballistic Missile Treaty in December, 1987. But then when Bush Jr. pulled out of the ABM treaty in 2002 it was off to the races again. Last year Putin declared that Russia has won: the Americans can now rest assured that if they ever attack Russia the result will be their complete, guaranteed annihilation, and the Russians can rest secure in the knowledge that the US will never dare to attack them.

But that was just the prelude. The real victory happened on February 2, 2019. This day will be remembered as the day when the Russian Federation decisively defeated the United States in the battle for Eurasia—from Lisbon to Vladivostok and from Murmansk to Mumbai.

So, what did the Americans want, and what did they get instead? They wanted to renegotiate the INF treaty, revise some of the terms and expand it to include China. Announcing that the US is suspending the INF treaty, Trump said: “I hope we’re able to get everybody in a big, beautiful room and do a new treaty that would be much better…” By “everybody” Trump probably meant the US, China and Russia.

Why the sudden need to include China? Because China has an entire arsenal of intermediate-range weapons with a range of 500-5500 (the ones outlawed by the INF treaty) pointed at American military bases throughout the region—in South Korea, Japan and Guam. The INF treaty made it impossible for the US to develop anything that could be deployed at these bases to point back at China.

Perhaps it was Trump’s attempt to practice his New York real-estate mogul’s “art of the deal” among nuclear superpowers, or perhaps it’s because imperial hubris has rotted the brains of just about everyone in the US establishment, but the plan for renegotiating the INF treaty was about as stupid as can be imagined:

1. Accuse Russia of violating the INF treaty based on no evidence. Ignore Russia’s efforts to demonstrate that the accusation is false.

2. Announce pull-out of the INF treaty.

3. Wait a while, then announce that the INF treaty is important and essential. Condescendingly forgive Russia and offer to sign a new treaty, but demand that it include China.

4. Wait while Russia convinces China that it should do so.

5. Sign the new treaty in Trump’s “big, beautiful room.”

So, how did it actually go? Russia instantly announced that it is also pulling out of the INF treaty. Putin ordered foreign minister Lavrov to abstain from all negotiations with the Americans in this matter. He then ordered defense minister Shoigu to build land-based platforms for Russia’s new air and ship-based missile systems—without increasing the defense budget. Putin added that these new land-based systems will only be deployed in response to the deployment of US-made intermediate-range weapons. Oh, and China announced that it is not interested in any such negotiations. Now Trump can have his “big, beautiful room” all to himself.

Why did this happen? Because of the INF treaty, for a long time Russia has had a giant gaping hole in its arsenal, specifically in the 500-5500 km range. It had air-launched X-101/102s, and eventually developed the Kalibr cruise missile, but it had rather few aircraft and ships—enough for defense, but not enough to guarantee that it could reliably destroy all of NATO. As a matter of Russia’s national security, given the permanently belligerent stance of the US, it was necessary for NATO to know that in case of a military conflict with Russia it will be completely annihilated, and that no air defense system will ever help them avoid that fate.

If you look at a map, you will find that having weapons in the 500-5500 km range fixes this problem rather nicely. Draw a circle with a 5500 km radius around the Russian enclave of Kaliningrad; note that it encompasses every single NATO country, North Africa and Middle East. The INF treaty was not necessarily a good deal for Russia even when it was first signed (remember, Gorbachev, who signed it, was a traitor) but it became a stupendously bad deal as NATO started to expand east. But Russia couldn’t pull out of it without triggering a confrontation, and it needed time to recover and rearm.

Already in 2004 Putin announced that “Russia needs a breakthrough in order to have a new generation of weapons and technology.” At the time, Americans ignored him, thinking that Russia could fall apart at any moment and that they will be able to enjoy Russian oil, gas, nuclear fuel and other strategic commodities for free forever even as the Russians themselves go extinct. They thought that even if Russia tried to resist, it would be enough to bribe some traitors—like Gorbachev or Yeltsin—and all would be well again.

Fast-forward 15 years, and is that what we have? Russia has rebuilt and rearmed. Its export industries provide for a positive trade balance even in absence of oil and gas exports. It is building three major export pipelines at the same time—to Germany, Turkey and China. It is building nuclear generating capacity around the world and owns a lion’s share of the world’s nuclear industry. The US can no longer keep the lights on without Russian nuclear fuel imports. The US has no new weapons systems with which to counter Russia’s rearmament. Yes, it talks about developing some, but all it has at this point are infinite money sinks and lots of PowerPoint presentations. It no longer has the brains to do the work, or the time, or the money.

Part of Putin’s orders upon pulling out of the INF treaty was to build land-based medium-range hypersonic missiles. That’s a new twist: not only will it be impossible to intercept them, but they will reduce NATO’s remaining time to live, should it ever attack Russia, from minutes to seconds. The new Poseidon nuclear-powered torpedo was mentioned too: even if an attack on Russia succeeds, it will be a Pyrrhic one, since subsequent 100-foot nuclear-triggered tsunamis will wipe clean both coasts of the United States for hundreds of miles inland, effectively reducing the entire country to slightly radioactive wasteland.

Not only has the US lost its ability to attack, it has also lost its ability to threaten. Its main means of projecting force around the world is its navy, and Poseidon reduces it to a useless, slow-moving pile of scrap steel. It would take just a handful of Poseidons quietly shadowing each US aircraft carrier group to zero out the strategic value of the US Navy no matter where in the world it is deployed.

Without the shackles of the INF treaty, Russia will be able to fully neutralize the already obsolete and useless NATO and to absorb all of Europe into its security sphere. European politicians are quite malleable and will soon learn to appreciate the fact that good relations with Russia and China are an asset while any dependence on the US, moving forward, is a huge liability. Many of them already understand which way the wind is blowing.

It won’t be a difficult decision for Europe’s leaders to make. On the one pan of the scale there is the prospect of a peaceful and prosperous Greater Eurasia, from Lisbon to Vladivostok and from Murmansk to Mumbai, safe under Russia’s nuclear umbrella and tied together with China’s One Belt One Road.

On the other pan of the scale there is a certain obscure former colony lost in the wilds of North America, imbued with an unshakeable faith in its own exceptionalism even as it grows ever weaker, more internally conflicted and more chaotic, but still dangerous, though mostly to itself, and run by a bloviating buffoon who can’t tell the difference between a nuclear arms treaty and a real estate deal. It needs to be quietly and peacefully relegated to the outskirts of civilization, and then to the margins of history.

Trump should keep his own company in his “big, beautiful room,” and avoid doing anything anything even more tragically stupid, while saner minds quietly negotiate the terms for an honorable capitulation. The only acceptable exit strategy for the US is to quietly and peacefully surrender its positions around the world, withdraw into its own geographic footprint and refrain from meddling in the affairs of Greater Eurasia.

We Have Met the Alien and He Is Us

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By William Astore

Source: TomDispatch.com

We Are The Empire
Of U.S. Military Interventions, Alien Disaster Movies, and Star Wars
By William J. Astore

Perhaps you’ve heard the expression: “We have met the enemy and he is us.” Cartoonist Walt Kelly’s famed possum, Pogo, first uttered that cry. In light of alien disaster movies like the recent sequel Independence Day: Resurgence and America’s disastrous wars of the twenty-first century, I’d like to suggest a slight change in that classic phrase: we have met the alien and he is us.

Allow me to explain. I grew up reading and watching science fiction with a fascination that bordered on passion. In my youth, I also felt great admiration for the high-tech, futuristic nature of the U.S. military. When it came time for college, I majored in mechanical engineering and joined the U.S. Air Force. On graduating, I would immediately be assigned to one of the more high-tech, sci-fi-like (not to say apocalyptic) military settings possible: Air Force Space Command’s Cheyenne Mountain.

For those of you who don’t remember the looming, end-of-everything atmosphere of the Cold War era, Cheyenne Mountain was a nuclear missile command center tunneled out of solid granite inside an actual mountain in Colorado. In those days, I saw myself as one of the good guys, protecting America from “alien” invasions and the potential nuclear obliteration of the country at the hands of godless communists from the Soviet Union. The year was 1985 and back then my idea of an “alien” invasion movie was Red Dawn, a film in which the Soviets and their Cuban allies invade the U.S., only to be turned back by a group of wolverine-like all-American teen rebels. (Think: the Vietcong, American-style, since the Vietnam War was then just a decade past.)

Strange to say, though, as I progressed through the military, I found myself growing increasingly uneasy about my good-guy stature and about who exactly was doing what to whom. Why, for example, did we invade Iraq in 2003 when that country had nothing to do with the attacks of 9/11? Why were we so focused on dominating the Earth’s resources, especially its oil? Why, after declaring total victory over the “alien” commies in 1991 and putting the Cold War to bed for forever (or so it seemed then), did our military continue to strive for “global reach, global power” and what, with no sense of overreach or irony, it liked to call “full-spectrum dominance”?

Still, whatever was simmering away inside me, only when I retired from the Air Force in 2005 did I fully face what had been staring back at me all those years: I had met the alien, and he was me.

The Alien Nature of U.S. Military Interventions

The latest Independence Day movie, despite earning disastrous reviews, is probably still rumbling its way through a multiplex near you. The basic plot hasn’t changed: ruthless aliens from afar (yet again) invade, seeking to exploit our precious planet while annihilating humanity (something that, to the best of our knowledge, only we are actually capable of). But we humans, in such movies as in reality, are a resilient lot. Enough of the plucky and the lucky emerge from the rubble to organize a counterattack. Despite being outclassed by the aliens’ shockingly superior technology and awe-inspiring arsenal of firepower, humanity finds a way to save the Earth while — you won’t be surprised to know — thoroughly thrashing said aliens.

Remember the original Independence Day from two decades ago? Derivative and predictable it may have been, but it was also a campy spectacle — with Will Smith’s cigar-chomping military pilot, Bill Pullman’s kickass president in a cockpit, and the White House being blown to smithereens by those aliens. That was 1996. The Soviet Union was half-a-decade gone and the U.S. was the planet’s “sole superpower.” Still, who knew that seven years later, on the deck of an aircraft carrier, an all-too-real American president would climb out of a similar cockpit in a flight suit, having essentially just blown part of the Middle East to smithereens, and declare his very own “mission accomplished” moment?

In the aftermath of the invasion of Afghanistan and the “shock and awe” assault on Iraq, the never-ending destructiveness of the wars that followed, coupled with the U.S. government’s deployment of deadly robotic drones and special ops units across the globe, alien invasion movies aren’t — at least for me — the campy fun they once were, and not just because the latest of them is louder, dumber, and more cliché-ridden than ever. I suspect that there’s something else at work as well, something that’s barely risen to consciousness here: in these years, we’ve morphed into the planet’s invading aliens.

Think about it. Over the last half-century, whenever and wherever the U.S. military “deploys,” often to underdeveloped towns and villages in places like Vietnam, Afghanistan, or Iraq, it arrives very much in the spirit of those sci-fi aliens. After all, it brings with it dazzlingly destructive futuristic weaponry and high-tech gadgetry of all sorts (known in the military as “force-multipliers”). It then proceeds to build mothership-style bases that are often like American small towns plopped down in a new environment. Nowadays in such lands, American drones patrol the skies (think: the Terminator films), blast walls accented with razor wire and klieg lights provide “force protection” on the ground, and the usual attack helicopters, combat jets, and gunships hover overhead like so many alien craft. To designate targets to wipe out, U.S. forces even use lasers!

In the field, American military officers emerge from high-tech vehicles to bark out commands in a harsh “alien” tongue. (You know: English.) Even as American leaders offer reassuring words to the natives (and to the public in “the homeland”) about the U.S. military being a force for human liberation, the message couldn’t be more unmistakable if you happen to be living in such countries: the “aliens” are here, and they’re planning to take control, weapons loaded and ready to fire.

Other U.S. military officers have noticed this dynamic. In 2004, near Samarra in Iraq’s Salahuddin province, for instance, then-Major Guy Parmeter recalled asking a farmer if he’d “seen any foreign fighters” about. The farmer’s reply was as simple as it was telling: “Yes, you.” Parmeter noted, “You have a bunch of epiphanies over the course of your experience here [in Iraq], and it made me think: How are we perceived, who are we to them?”

Americans may see themselves as liberators, but to the Iraqis and so many other peoples Washington has targeted with its drones, jets, and high-tech weaponry, we are the invaders.

Do you recall what the aliens were after in the first Independence Day movie? Resources. In that film, they were compared to locusts, traveling from planet to planet, stripping them of their valuables while killing their inhabitants. These days, that narrative should sound a lot less alien to us. After all, would Washington have committed itself quite so fully to the Greater Middle East if it hadn’t possessed all that oil so vital to our consumption-driven way of life? That’s what the Carter Doctrine of 1980 was about: it defined the Persian Gulf as a U.S. “vital interest” precisely because, to quote former Deputy Secretary of Defense Paul Wolfowitz’s apt description of Iraq, it “floats on a sea of oil.”

Of Cold War Memories and Imperial Storm Troopers

Whether anyone notices or not, alien invasion flicks offer a telling analogy when it comes to the destructive reality of Washington’s global ambitions; so, too, do “space operas” like Star Wars. I’m a fan of George Lucas’s original trilogy, which appeared in my formative years. When I saw them in the midst of the Cold War, I never doubted that Darth Vader’s authoritarian Empire in a galaxy far, far away was the Soviet Union. Weren’t the Soviets, whom President Ronald Reagan would dub “the evil empire,” bent on imperial domination? Didn’t they have the equivalent of storm troopers, and wasn’t it our job to “contain” that threat?

Like most young Americans then, I saw myself as a plucky rebel, a mixture of the free-wheeling, wisecracking Han Solo and the fresh-faced, idealistic Luke Skywalker. Of course, George Lucas had a darker, more complex vision in mind, one in which President Richard Nixon, not some sclerotic Soviet premier, provided a model for the power-mad emperor, while the lovable Ewoks in The Return of the Jedi — with their simple if effective weaponry and their anti-imperial insurgent tactics — were clearly meant to evoke Vietnamese resistance forces in an American war that Lucas had loathed. But few enough Americans of the Cold War-era thought in such terms. (I didn’t.) It went without question that we weren’t the heartless evil empire. We were the Jedi! And metaphorically speaking, weren’t we the ones who, in the end, blew up the Soviet Death Star and won the Cold War?

How, then, did an increasingly gargantuan Pentagon become the Death Star of our moment? We even had our own Darth Vader in Dick Cheney, a vice president who actually took pride in the comparison.

Think for a moment, dear reader, about the optics of a typical twenty-first-century U.S. military intervention. As our troops deploy to places that for most Americans might as well be in a galaxy far, far away, with all their depersonalizing body armor and high-tech weaponry, they certainly have the look of imperial storm troopers.

I’m hardly the first person to notice this. As Iraq war veteran Roy Scranton recently wrote in the New York Times, “I was the faceless storm trooper, and the scrappy rebels were the Iraqis.” Ouch.

American troops in that country often moved about in huge MRAPs (mine-resistant, ambush-protected vehicles) described to me by an Army battalion commander as “ungainly” and “un-soldier like.” Along with M1 Abrams tanks and Bradley fighting vehicles, those MRAPs were the American equivalents of the Imperial Walkers in Star Wars. Such vehicles, my battalion commander friend noted drolly, were “not conducive to social engagements with Iraqis.”

It’s not the fault of the individual American soldier that, in these years, he’s been outfitted like a Star Wars storm trooper. His equipment is designed to be rugged and redundant, meaning difficult to break, but it comes at a cost. In Iraq, U.S. troops were often encased in 80 to 100 pounds of equipment, including a rifle, body armor, helmet, ammunition, water, radio, batteries, and night-vision goggles. And, light as they are, let’s not forget the ominous dark sunglasses meant to dim the glare of Iraq’s foreign sun.

Now, think how that soldier appeared to ordinary Iraqis — or Afghans, Yemenis, Libyans, or almost any other non-Western people. Wouldn’t he or she seem both intimidating and foreign, indeed, hostile and “alien,” especially while pointing a rifle at you and jabbering away in a foreign tongue? Of course, in Star Wars terms, it went both ways in Iraq. A colleague told me that during her time there, she heard American troops refer to Iraqis as “sand people,” the vicious desert raiders and scavengers of Star Wars. If “they” seem like vicious aliens to us, should we be surprised that we just might seem that way to them?

Meanwhile, consider the American enemy, whether the Taliban, al-Qaeda, or any of our other opponents of this era. Typically unburdened by heavy armor and loads of equipment, they move around in small bands, improvising as they go. Such “terrorists” — or “freedom fighters,” take your pick — more closely resemble (optically, at least) the plucky human survivors of Independence Day or the ragtag yet determined rebels of Star Wars than heavy patrols of U.S. troops do.

Now, think of the typical U.S. military response to the nimbleness and speed of such “rebels.” It usually involves deploying yet more and bigger technologies. The U.S. has even sent its version of Imperial Star Destroyers (we call them B-52s) to Syria and Iraq to take out “rebels” riding their version of Star Wars “speeders” (i.e. Toyota trucks).

To navigate and negotiate the complex “human terrain” (actual U.S. Army term) of “planets” like Iraq and Afghanistan, U.S. troops call on a range of space-age technologies, including direction-finding equipment, signal intercept, terrain modeling, and satellite navigation using GPS. The enemy, being part of that “human terrain,” has little need for such technology to “master” it. Since understanding alien cultures and their peculiar “human terrains” is not its forte, the U.S. military has been known to hire anthropologists to help it try to grasp the strange behaviors of the peoples of Planet Iraq and Planet Afghanistan.

Yet unlike the evil empire of Star Wars or the ruthless aliens of Independence Day, the U.S. military never claimed to be seeking total control (or destruction) of the lands it invaded, nor did it claim to desire the total annihilation of their populations (unless you count the “carpet bombing” fantasies of wannabe Sith Lord Ted Cruz). Instead, it promised to leave quickly once its liberating mission was accomplished, taking its troops, attack craft, and motherships with it.

After 15 years and counting on Planet Afghanistan and 13 on Planet Iraq, tell me again how those promises have played out.

In a Galaxy Far, Far Away

Consider it an irony of alien disaster movies that they manage to critique U.S. military ambitions vis-à-vis the “primitive” natives of far-off lands (even if none of us and few of the filmmakers know it). Like it or not, as the world’s sole superpower, dependent on advanced technology to implement its global ambitions, the U.S. provides a remarkably good model for the imperial and imperious aliens of our screen life.

We Americans, proud denizens of the land of the gun and of the only superpower left standing, don’t, of course, want to think of ourselves as aliens. Who does? We go to movies like Independence Day or Star Wars to identify with the outgunned rebels. Evidence to the contrary, we still think of ourselves as the underdogs, the rebels, the liberators. And so — I still believe — we once were, a long time ago in a galaxy far, far away.

We need to get back to that time and that galaxy. But we don’t need a high-tech time machine or sci-fi wormhole to do so. Instead, we need to take a long hard look at ourselves. Like Pogo, we need to be willing to see the evidence of our own invasive nature. Only then can we begin to become the kind of land we say we want to be.

 

A TomDispatch regular, William Astore is a retired lieutenant colonel (USAF) and history professor. He blogs at Bracing Views.

Saturday Matinee: Hardware Wars/TROOPS

From Open Culture:

Hardware Wars: The Mother of All Star Wars Fan Films (and the Most Profitable Short Film Ever Made)

Back in 1977, San Francisco filmmaker Ernie Fosselius had the brainwave to make a spoof of a movie that had just come out. It was a risky move. Nobody had any sense that Star Wars would become the worldwide cultural phenomenon that it did. And just as George Lucas’s space opera earned staggering amounts of money, so did Fosselius’s parody, Hardware Wars. You can watch it above. Made for a mere eight grand, the 13-minute movie became a pre-internet viral hit and a staple on the festival circuit, ultimately earning over $1,000,000 – an unheard of haul for a short film. In fact, in terms of money spent versus money earned, Hardware Wars ended up being far more profitable than Star Wars. And it’s considered the most profitable short film ever made.

“I think a lot of the charm of that movie is the fact that we didn’t really know what we were doing,” said Scott Mathews, who donned a blonde wig to play the movie’s lead, Fluke Starbucker. The movie’s production is so gleefully cheap and half-assed that you can’t help but be charmed by it. Irons, toasters, and tape players are used in place of spaceships.

A canister vacuum cleaner stands in for R2D2, and Chewbacca appears to be a Cookie Monster puppet dyed brown. At one point, while on a desert planet of Tatooine, you see a beach-goer sauntering in the background. And Star Wars’s famous cantina scene is in this movie simply a stroll through a crowded tavern. If you know anything about the bar scene in 1970s San Francisco, you know that it was at least as weird as anything George Lucas managed to put up on the screen.

The often litigious Lucas reportedly really liked the movie, called it “cute.” He even invited Fosselius to voice the inconsolable sobs of Jabba the Hutt’s animal trainer after his beloved Rancor gets killed by Luke Skywalker in Return of the Jedi.

Hardware Wars ended up launching an entire subgenre of movie – the Star Wars fan film. And with the advent of Youtube and digital filmmaking technology, the ability of nerds and mavens to make increasingly sophisticated takes on Lucas’s universe became easier and easier. One of the better, and older, ones is Troops. A mash up of Star Wars and the reality TV series Cops, the short shows the challenges and the struggles of being an Imperial Stormtrooper. Check it out below.

Saturday Matinee: Star Wars Knock-Off Double Feature

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Media hype surrounding the release of the latest Star Wars film is similar to the release of the previous films in the series except for the fact that prior to the release of the first installment, few outside the sci-fi community predicted it’d be such a success. Though it’s too early to tell how much of an enduring cultural impact The Force Awakens will have, in hindsight the impact of A New Hope has been substantial. It definitely raised the bar for effects-laden “event” films and marked a transition point for Hollywood from releasing films with a more gritty pessimistic tone and European-influenced aesthetic of the early and mid seventies to films with larger budgets and more optimistic “retro” sensibilities of the late seventies and beyond.

Star Wars also upped the ante for the potential boon to be had not just for studios but from merchandising partnerships, multimedia spin-offs expanding the franchise universe and countless opportunists attempting to cash in. Kids growing up in the post-Star Wars era had no shortage of Star Wars toys and products to choose from (or Star Wars-like toys and products) which helped boost a generation’s interest in sci-fi, space and technology. On television kids and adults could get their sci-fi fix through such shows as Battlestar Galactica, Buck Rogers, Quark, and an anime from 1974 repackaged as Star Blazers for American audiences. Meanwhile Hollywood was diving head-first into the sci-fi/fantasy resurgence with Disney’s The Black Hole, a space-bound James Bond in Moonraker, new versions of Superman, Star Trek and Flash Gordon, Ridley Scott’s Alien, and Jimmy Murakami (When the Wind Blows) and Roger Corman’s Battle Beyond the Stars among others.

Movie producers around the world also jumped on the bandwagon with films as diverse as Os Trapalhões (The Dabblers) from Brazil and Dünyayı Kurtaran Adam (The Man Who Saved the World), also known as “Turkish Star Wars” due to the filmmaker’s liberal use of Star Wars footage for spliced in effects shots and backdrops. As many horrible examples of this subgenre of world cinema as there are, there’s at least two I’ve found to be charming and enjoyable in their own ways: Message From Space (Japan, 1978) and Starcrash (Italy, 1979). Both feature eclectic casts with hammy performances (eg Vic Morrow and Sonny Chiba in Message From Space and Caroline Munro, Christopher Plummer and David Hasselhoff in Starcrash), both have low-budget yet creative production design, and like Star Wars, they also make a decent attempt at recombining various mythological and cinematic tropes to create new fantasy worlds. Message From Space also had the benefit of having Kinji Fukasaku in charge, the auteur who also directed Black Lizard, Battles Without Honor and Humanity, and Battle Royale.

Message From Space (Full Movie)

Weaponized Hyperreality: Social Engineering Through Corporate State Propaganda and Religion

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By Luther Blissett and J. F. Sebastian of Arkesoul

Perhaps no philosophical concept more aptly describes the current cultural milieu than hyperreality, characterized by wikipedia as “an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies.” The predominance of hyperreality comes at a time when people in power have never had more to conceal, distort and distract the population from while there’s never been more people who have more means and motives to stay distracted. This is evident in many aspects of contemporary life from corporate news narratives shaped by sponsors and “official sources”, increasingly absurd denials of the true state of the economy from (mis)leaders, widespread dependence on pharmaceuticals worsened by direct-to-consumer advertising and a sham drug war, fanatical worship of celebrities, to slavish acquiescence to fads and fashion. But most obvious is the increasing amount of time spent in front of screens whether for work, shopping, social media, education, self-expression, games, web content, or the exponentially growing volume of video entertainment. Though video games and web series are catching up, the primary narrative formats for cultural expression and transmission today are still television and film.

Struggling to retain their cultural/economic status in the face of increased competition while appeasing shareholders of their monolithic multinational corporate owners, large film and television studios are increasingly risk averse. This is glaringly apparent in the output of major studios which are for the most part the media equivalent of comfort food; familiar (formulaic), satisfying (crowd pleasing), full of empty calories (lacking intellectual/emotional complexity or challenging ideas) and generally bland in terms of content and presentation. On television this is commonly displayed through clichéd tropes, characters and situations while films are now more than ever driven by CGI enhanced spectacle. Both rely on repeating what has worked in the past and (for viewers of a certain age) appealing to nostalgia while pandering to current cultural trends.

Of course such strategies overlap, as there’s more than a few television programs that offer Hollywood style spectacle and big budget movies which imitate successful formulas in the form of adaptations, sequels, prequels, reboots, spin-offs, and mockbusters. In fact the majority of Hollywood’s summer blockbuster output is now comprised of such derivative and safe content predominantly in the form of fantasy and science fiction films.

The ideological motives and functions of cinema and other pop culture are manifold, but a major one is control and influence of mass audiences. We now know the US government has been doing it at least since the 1950s. According to a Church Committee investigation detailing Operation Mockingbird in 1976:

“The CIA currently maintains a network of several hundred foreign individuals around the world who provide intelligence for the CIA and at times attempt to influence opinion through the use of covert propaganda. These individuals provide the CIA with direct access to a large number of newspapers and periodicals, scores of press services and news agencies, radio and television stations, commercial book publishers, and other foreign media outlets.”

More recently, in 1991 the Task Force Report on Greater CIA Openness revealed the CIA “now has relationships with reporters from every major wire service, newspaper, news weekly, and television network in the nation,” which enables them to “turn some ‘intelligence failure’ stories into ‘intelligence success’ stories, and has contributed to the accuracy of countless others.” It also revealed that the CIA has “persuaded reporters to postpone, change, hold, or even scrap stories that could have adversely affected national security interests…” (Global Research, Lights, Camera… Covert Action: The Deep Politics of Hollywood)

Government influence of culture factories such as Hollywood through covert infiltration or embedded advisors ensures that the end product reflects the values and behaviors they wish to promote (ie. xenophobia, deference to authority, nationalism, parochialism, narcissism, anti-intellectualism, consumerism, rapaciousness, etc). In some cases, most notably Zero Dark Thirty and United 93,  the goal is to cement an official narrative into the collective consciousness. A more sophisticated method of social engineering via Hollywood is predictive programming; presenting through media societal changes to be implemented by leaders in order to gradually condition the public and reduce resistance to such changes.

Manipulation of public sentiment through mass media also makes sense from a purely corporate perspective. Why wouldn’t media owners gear the ideological content of their products to support the systems they benefit from while screening out more critical messages? Occasional subversive content may get past the gatekeepers if it’s immediately profitable (which it sometimes can be if particularly resonant), can be co-opted in some way that serves the status quo, or if the creative minds behind it are particularly lucky, talented, and/or well connected. Regardless, one could argue uncritical media consumption is a form of pacification through distraction and escapism and all corporate media content are a result of calculating the highest return on investment, which more often than not reflects the culture’s most deeply ingrained values and myths.

This is particularly true for fantasy/sci film films, which have become ubiquitous for a number of reasons including cultural tastes of global demographics, aesthetic trends (eg. hyperreal CG effects for evermore spectacular imagery), impact of changing media technology on the economics of production and distribution, growing awareness of the value of properties belonging to rich fictional universes which can be mined by worldbuilding studio screenwriters, and in many cases, resonance with our increasingly dystopian world. Most fundamental is profitability, especially as sfx technology becomes more advanced and affordable, licensing opportunities increase, and film franchises that come with large and passionate built-in fan bases reduce the need for marketing and practically sell themselves.

Many who grow up immersed in geek culture already have a hyperreal relationship with fantasy and science fiction realms which heightens the nostalgia evoked by the stream of multimedia incarnations and product tie-ins (bolstered by cult-like fan communities). Is it any surprise that fans who’ve extrapolated on the “Jedi” concept from the Star Wars films turned it into a religion? The Jedi cosmology (and similar ones from countless sci-fi/fantasy films) are modeled on mysticism, a philosophical framework which could fill a void for spiritually deprived materialist cultures. For many people, comic book fandom is another safe and entertaining way to explore concepts that might otherwise be too “out there” (perhaps especially among those who share an equally strong interest in materialist science). At the same time, because of the influence of marketing, the greater role of technology in society and changing cultural trends, geek culture has become a larger part of mainstream culture. Combined with celebrity worship, the lure of technology (both on-screen and off), and increasingly omnipotent powers of multinational corporations, modern big budget sci-fi/fantasy films represent a confluence of potent socioreligious crosscurrents.

Recent works such as Christopher Knowles’s Our Gods Wear Spandex and Grant Morrison’s Supergods examine to an extent superheroes as modern mythological archetypes. Bill Moyer’s The Power of Myth explored how Joseph Campbell’s theory of the monomyth (or hero’s journey) influenced and shaped the Star Wars films (which itself has influenced myriad blockbusters since). In The Hero With a Thousand Faces, Campbell identified a story template used in almost all pre-modern cultures across the globe which goes something like this:

A reluctant “chosen one” in an ordinary world receives a call to adventure and warning of a danger that must be confronted. With the training and wisdom of a mentor the hero crosses the threshold into the unknown. Companions acquired along the way assist in overcoming a series of challenges and temptations until reaching the depth of their fears and resultant apotheosis or rebirth. This empowers them to achieve their goal and return triumphant to an admiring family/community/nation etc.

It’s not hard to see the attraction of narratives such as this which tap into primal emotional needs and can be found in a wide range of religious narratives such as the lives of Buddha, Christ, Muhammad and Rama among others. It also serves as a metaphor for spiritual/psychological journeys through life.

In a recent post on his Secret Sun blog, Christopher Knowles states “Myths grow out of times of crisis and upheaval, in one way or another. The current vogue for superheroes is a symptom of the powerlessness felt by a populace under assault by the realities of Globalist social engineering, war-making and economic redundancy.” I would add that myths can also be exploited to function as part of a cultural assault to perpetuate Globalist agendas. Authoritarians are all too eager to depict themselves as monomythic demigod saviors and/or those serving them as self-sacrificing rugged individualist heroes fulfilling their grand destinies.

In the same piece, Knowles concludes: “But myths do die. They aren’t immortal. The next war or wars may in fact sweep away the myths of the 20th Century entirely. The wars may send people reaching back to far older myths as civil wars can rekindle the bonfires of identity, sending people back to the myths of ancestors. This has always emerged in times of close conflict, particularly in conflicts seen as struggles against occupying powers.”

If he’s correct, there may be some hope for our culture to reclaim myths as a means of understanding reality rather than serve as a trapdoor to fabricated hyperreality. The problem is that there is a gap that needs “filling in” between reality and hyperreality. One of the many consequences of postmodernism is the complete blurring of the line between what is real and what is not. A sort of apathy has kicked in within the human psyche given that crushing truths, not easily discernable in the past, are all out there in the raw. Religious and scientific truths once held sacred can be easily discarded. Morality is a rare hobby in a generation both cynical and powerless to discern reality. This is as well due to globalism and technology, which serve as hubs for information retrieval that wasn’t readily available. Humanity has developed thicker skin, while at the same time widened the existential void left by a reality that is less and less objectifiable. Opinion makers are everywhere, information is ubiquitous, and the species is obsessed with being entertained while answers are readily manufactured in the shape of capital fetishes, all the while ideology that purportedly made a call for a “better and different” world, such as Marxism and psychoanalysis, has become both a haunting spectre and an empty promise.

In the past these formulae failed. In the future they seem more and more unlikely. Capitalism has adapted itself to revolutionary ideology. It has generated even more power from it, defusing the motivation for change and twisting the definition of revolution, all the while turning such concepts into brands. The irony. There is call for a “new objectivism”, however. A bet for a system reboot, in which categorical truths can be retrieved and argued from. The analogy is this: keeping what works and dismissing what doesn’t. Sounds like a simple and logical plan. The problem is that those who get to define what works and what doesn’t will be the powerful, uncanny minority. This is their game, and we have cynically accepted it. It is the way it is. Unless we can evolve from reality to hyperreality, and from hyperreality back into reality, as a species that learns, adapts, understands how high the stakes really are, and moves forward as a collective that is conscious and responsible of its flaws, it appears we are doomed. Three scenarios: first, the narrative will continue as is: the majority will continue to be repressed, and will perpetually seek escape by the hand that feeds until lost completely in hyperreality. Technology moves forward, religion condenses into inconvenient myth: we completely “plug in”. Then what? Well, you just have to see Her to see into this future. The second, war extinguishes civilization and winds back the evolutionary clock, think Mad Max, until we reach the first scenario, as if in a loop. The third and most bleak, nuclear war. The species ends.

What we learn from this exercise is that we are at the apex. This is it. The crushing truth of existence is firmly on our shoulders. War is unravelling. An ever-shrinking number of brands dominate the world. And an even smaller number of people call the shots. In between reality and hyperreality there is confusion. There is no longer a basis to discern between the two. We are as it were, lost. We need to fill in this gap. We need to dig deeper than ever before for a reason to dissolve our differences. Somehow the dilemma is set: surrender or die. But the crux of the problem can be overridden if we use the knowledge and tools we have to fight for a better, and more responsible alternative.

Saturday Matinee: Holiday Double Feature

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Films and videos don’t always gain a cult following because they’re good. Case in point is the “Star Wars Holiday Special” (1978), the first official spin-off which was only broadcast once and never released on home video. George Lucas was rumored to have been personally involved in keeping it hidden since he considered it such an embarrassment. Because of its rarity and underground status, bootlegs of the original broadcast were long sought after by fans of Star Wars and obscure cinema.

As holiday specials go, it has a fairly standard flimsy narrative that strings together a variety of celebrity cameos, comedic skits and musical numbers. What sets it apart are appearances by all the main characters of the film and the strained attempt to fit them into a 70s holiday variety program. Comedians like Bea Arthur, Art Carny, and Harvey Korman or musicians like Diahann Carroll and Jefferson Starship don’t seem to belong in the same universe of Star Wars much less the same television program. Though much of the comedy and guest appearances fall flat and the production as a whole reeks of crass commercialism and cloying sentimentality, it does have moments of inspired weirdness that might make it worth seeing by hardcore Star Wars fans, paracinephiles, and/or stoners.

This is a 15 minute “fan edit” version of the Star Wars Holiday Special:

In contrast to the Star Wars special, the “Pee Wee’s Playhouse Christmas Special” (1988) is an example of how similar holiday tropes can be used more creatively towards an equally bizarre but more satisfying end result. The campy, self-aware and subtly subversive tone of Pee Wee’s Playhouse is better suited for the “pop culture mash-up” aspect of holiday specials than the more self-contained world of Star Wars. It also helps that Pee Wee’s show is written with more humor and wit and features an eclectic mix of guests who all seem to be having fun.

The roster of celebrities include Annette Funicello, Frankie Avalon, Grace Jones, K.D. Lang, Little Richard, Cher, Magic Johnson, Whoopi Goldberg, Oprah Winfrey, Charo and Laurence Fishburne among others. Like Pee Wee, they’re iconic and have collective appeal that transcends age, race and gender. They’re also perfect guest stars for a throwback to televised holiday events of the past with a postmodern and absurdist sensibility.