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ark depressing visions that is so attractive to creative people why is it that a show like the x files or any version of star trek is considered mere light entertainment monsters and spaceships for the kiddies while millennium is believed to be making a profound statement about life the universe and everything why is it when offered the opportunity to create anything he wanted i imagine chris carter chose to create this show with its weary hero and pervasive darkness and the impossibility of triumph why is it that to be considered serious a person s vision has to be nihilistic that s really what millennium comes down to nihilism from the latin word for nothing a belief not so much in anything as the belief that there is ultimately no other reality aside from an all consuming nothing that rotates at the center of space it s not just millennium that has this belief many other movies books popular songs etc all seem to think that an ending where everyone dies is a much more profound mature and artistically valid ending than one where someone overcomes difficulties bruce springsteen singing that the working man is going to be inevitably crushed is always touted as deep and thoughtful whereas no one s ever going to be anything other than dismissive of polka music which one gets people up and dancing though or is that an irrelevant question should pop music make us feel everything is worthless including ourselves how does one get pleasure from this kind of art except the pleasure that comes from saying you see i was right all along is that what it is i am wiser than you are where does this attitude come from perhaps it comes on the road to what we call maturity when we are children at least children in north america childhood consists largely of happy events one after the other christmas birthdays trips to fun places saturday morning cartoons when one reaches adolescence one can begin to contrast the experience of life with one s expectations of that experience and life suddenly becomes an ever cascading series of disappointments and disillusionings one could say that this change is indicative of an ability to judge and consider but the negative spin is one of the chief characteristics of this ability ie nothing is ever good enough everything is worse than it should be this seems to sum up millennium nicely i think if i can use the word nicely when talking about the show the change also shows up in the way people use dialogue in the x files as in childhood the dialogue consists of questions and attempts to explain either oneself or others whereas in millennium like adolescence people talk in clipped deliberately obtuse phrases and half questions that don t really create dialogue at all it mostly seems to be the actors saying words rather than conversing the impression given is of someone who is so smart we cannot follow what he says because we don t have his intellectual tools in reality it s just intended to give a profound air to one s utterings i think it s possible some of this stems from the difference between believing there are answers just waiting to be found childhood and the belief that those answers are meaningless and the search for them pointless adolescence but shouldn t maturity come with the realization that life is neither total happiness or complete unfairness but a mixture of events that happen to us how we react to these things determines our character and our sense of the character of our lives we can take what happens and do what needs to be done or we can despair that we are helpless both within the same sets of circumstances i am reminded of what i consider the money quote from david fincher s seven that bleak and depressing film of endless rain dark holdings and dealings with the devil in one scene brad pitt and morgan freeman are talking in a bar mr freeman who is just about to retire from the police force offers as has been his wont throughout the film his view that life is a terrible thing of unending pain with no reward brad pitt disagrees and responds i don t think you re quitting because you believe these things you say i don t i think you want to believe them because you re quitting gruesome ending beside i think that is the key passage in the entire movie and it s the one scene that keeps seven from being an unrelenting depression fest and instead relegates it to the ranks of films that do in fact affirm life as a contrast mr potter s continued malevolence keeps it s a wonderful life from becoming overly sappy can you imagine how awful that film would be if potter showed up at jimmy stewart s house all reformed and nice it s important to keep the mixture balanced back to seven if you ve seen the film and you know the ending while it seems appropriate to what has gone before doesn t it seem kind of rushed it s as if they want to push it at you with no chance to think about it so let s think about it despite freeman s protestations and john doe s exhortations i think no jury in the world would convict pitt s character of anything other than a crime of passion other than the contrivance of the ending in the world of seven john doe would in fact end up as a t shirt or a movie of the week in my opinion the ending of seven where there is this desperate insistence on procedure and order is the weakest part of the film conceptually at least in actual fact it s rather gripping actually the film ends in voice over with morgan freeman quoting hemmingway the world is a fine place and worth fighting for mr freeman then goes on to say i agree with the second part again despite the caveat this seems to be the film saying that despite all the darkness and evil in the world there is hope and we can pursue it to me this differentiates the film from millennium in which as i ve said there is no hope at all i m not saying that all art should be sunshine and flowers depressing works can be cathartic too barry n malzberg s work for example is among the bleakest and most depressing prose you can find it is frequently pretty hard to get from one page to the next but while reading him i personally never felt that the overall effect was one of despair there s a lot of despair there don t get me wrong on the contrary his work is invigorating i think the difference is that his work burns with a white hot anger at this depressing futile state he imagines rather than finding complacency and completion in these worlds malzberg seems to rail for something more something positive even while seemingly admitting that more and positive aren t possible nonetheless while in his work everyone may die and everything end up in ruins malzberg seems genuinely angry about this railing against the complacent acceptance of nihilism rather than accepting its enveloping fashionable folds malzberg despite the defeatist air of most of his work strikes me as a fighter for human values rather than one who surrenders to the shadows if the end result is the same does it matter yes i think it does i think the underlying attitude of a work is many times more important than the events portrayed in that work in every creative writing class i ve had the short story was described as a problem solving exercise the protagonist was presented with a problem and through use of available resources overcame the problem or the problem proved too intractable to solve and the protagonist accepted this in any case it illustrates a form of revelation a new facet in the protagonist in response to the situation that was the seed of the story its reason for being there are stories that that follow this path both to reward or to death and they re classics of the field there are others that take the short path and in my view they don t work if you ve ever read stephen king s story gramma you know that it takes the short path it s about a small boy who is going to die and he dies that s the whole story oh sure he worries about his fate and he tries to escape but he doesn t his efforts all come to naught while the story is gruesome there s no satisfaction in it for the reader the gruesomeness comes because king wants it to come not because it arises organically out of the story there is a difference the fact is nothing changes throughout the story we start with one certainty and end with that same certainty millennium is gramma writ to world spanning lengths in this world there are no solutions or even simple relief from problems the scenes where frank interacts with his wife and daughter seem forced and separated from the story i get the impression they re put there simply to show us that frank has a life outside his work but they don t add much of anything to the flow of the story not to say they are unattractive vignettes they aren t there s definitely a warmth to them and the acting is excellent as always but i think you could shoot several hours of lance henriksen megan gallagher and brittany tiplady interacting and then just drop scenes at random in the other stories without let or hindrance and no one d be the wiser i suppose i ve been pretty hard on millennium here on the other hand perhaps that s what the show expects and actually enjoys who can say the show itself just seems endemic of a wider syndrome of draining the life and joy from what is after all supposed to be entertainment it may also be symptomatic of another trend which is that of entertainers feeling that since they have the stage they have to lecture us the little people on what to think and feel and what opinions are correct to hold but that s a rant for another day it may explain why i find watching the show to be pretty difficult there s just nothing to enjoy here apart from the technical aspects there s no fun i know the show has a lot of fans who were disappointed that it did poorly in the ratings and got itself cancelled and i m certainly not trying to persuade people who love the show that they re wrong because i believe that we all respond to entertainment differently and my way is no better than yours personally i prefer my cynicism leavened with a little optimism or humor like south park for example it may also be why i prefer problem and object television shows like the x files the original dexter s laboratory or any number of other such programs here the characters face their problems and attempt to overcome them whereas millennium seems to wallow in the impossibility of taking action or making a difference one sees this creeping cynical nihilism starting to enter children s entertainment in things like adult swim where the aqua teens and denizens of sea lab 2021 seem trapped in a endless loop of accepting their failure to do anything at all it s a kind of celebration of inertia admittedly i laugh like a loon at the aqua teens again this is not a call for uplifting namby pamby arts that will slap smiles on people s faces i ve been accused many times of creating paintings that are depressing but my feeling is my stuff is bleak not depressing i ve removed the human element from it so my work doesn t impact on human life that i think is an important distinction we all have different needs and expectations from our entertainment choices but i have to tell you i m honestly tired of art that tells me everything is worthless and futile even if i believed that and i m not sure i don t why do i have to be told it again and again isn t once enough and don t those terms apply to the art in question as well then where does it all end i have this vision of people sitting around watching an hour of static and at the end telling each other that this episode wasn t as good as last week s it gets dark every night but the sunrise isn t that far away standard posted by beckoningchasm posted on february 16 2005 posted under thoughts and theories the sign of the four melancholy girl points out in a comment to my long tale of silicates that she prefers the classic movie monsters dracula frankenstein s monster and the like and who doesn t there s a reason those guys are classics why the books have never gone out of print and why every few years someone mounts a new film version of their stories it s because they re classics with a capital c at any rate or rather because of i ve been trying to collate movie monsters into four types why four because four is the number best used for grouping things you have four seasons four compass directions four elements earth air fire and water and their attendant humours four cells in a basic mendell heredity table in popular culture you had four beatles four kids from south park the fantastic four four quarters in a sporting event four quarters in a dollar four horsemen of the apocalypse and so on i m telling you if you want any theory of yours to be taken seriously you have to have four divisions check this out while you re up you could almost make a drinking game out of it i m not responsible if you do though so anyway monsters here are the four divisions i m thinking of based in part on the ideal platonic human form kind of like the autons before they revealed their true selves 1 utterly unlike here we d put the silicates hill house from robert wise s film and i think the alien from alien these are beings utterly unlike us with whom we have nothing in common who have motivations unknown to us with whom we cannot reason i d also put george pal s martians in here though probably not h g wells 2 like yet unlike these would be the victims of jack finney s body snatchers or those possessed by demons they look like us and they are subject to the same physical and physiological laws as we but their reasoning centers are non human invaders who have motivations unlike those of human beings though not entirely unlike their logic and reasoning can be understood as they chose our bodies for this very reason they are comfortable with our physiognamy and feel we are the method though which they will achieve their ends thus we can stop them because we can understand what they re after and can act accordingly against them it is possible to reason with them we can make ourselves understood at least but it is likely that reason won t help since they went to the trouble of possessing us it s unlikely that a simple stop that will have much effect on them admittedly this has never been tried 3 like but degraded zombies people who were once human but now are unthinking automatons other than the animating spark there is nothing alien or foreign in them while we share physiognamy and have the same vulnerabilities we cannot reason with them i already talked about them rather at length i d rather not go through that again 4 variations this is a kind of catch all category and here is where i would put the classic monsters each of them is like the ideal human being but flawed in some fundamental way that can give us regular people the advantage in a contest with them dracula s difficult to kill but he can t stay out afte dark is repelled by crosses etc frankenstein s stronger than we are b...
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