Category Archives: Film

The Exorcist: A Middle Way Interpretation

Books, Christianity, Culture, Fiction, Film, Meaning, Popular Culture, Religion, Science, spirituality, The Arts, , , , , , , , , , , , , ,

Spoiler Alert: This isn’t a synopsis or a review but I will reveal certain, important, plot points.  As such, if you haven’t yet seen it yet – and would like to – you may want to stop reading now. 

Cursed. Obscene. Scary. Nauseating.  Pea Soup.  These are just a selection of words associated with William Friedkin’s 1973 film, The Exorcist (adapted from William Peter Blatty’s novel of the same name).  The Exorcist tells the story of the Exorcism of 12-year-old girl, Regan MacNeil, who has been possessed by a malevolent force.  It is set in affluent 1970’s Georgetown USA, where Regan lives with her atheist mother, who also happens to be a famous actress.

Even in the early 1990’s, when I was at school, this film had a reputation as being the most disgusting and frightening film ever made – which of course meant everybody wanted to see it.  This desire was only intensified by the fact that The Exorcist had been banned in the UK since 1984; a few friends and I even attempted to watch a pirated copy of it on VHS, but our excited anticipation was soon extinguished once we realised that the video quality was so bad as to render further viewing impossible.  In 1998 the British Board of Film Classification (BBFC) lifted the ban, and The Exorcist was released – with much fanfare – in cinemas across the country.  Many of my peers came back with reports of disappointment and boredom.  ‘It’s not scary at all.  I didn’t jump once’ they’d say, or ‘I don’t know what the fuss is about, nothing even happens for most of the film’.  I was worried.  I’d recently read the book and really enjoyed it, but wasn’t sure how it would be translated into the ‘Scariest Film Ever Made’.  Could this really be the same film that had caused people to faint and vomit while watching it?  I knew loads of people who’d seen it the first-time round and refused to even talk about it, let alone watch it again.  Perhaps it hadn’t aged well?

When I did eventually get to see it that I could understand why my peers were confused about the reputation it had achieved.  I’m not the kind of person that finds Horror films particularly scary anyway, but I had expected The Exorcist to be an exception.  It wasn’t.  In this respect, the length of time that had passed since its original release did seem to have had an impact.  Horror films throughout the 90’s had a tendency to reject the kind of subtle psychological techniques used in the 60’s and 70’s in favour of ‘jump scares’ and ‘gore effects’.  Therefore, that is what any teenager going to see a Horror movie at this time would be expecting.  That’s not what they got with The Exorcist.  There’s hardly any ‘gore’ and it is almost entirely void of ‘jump scares’.  In addition to this, much of imagery was much less shocking in the 90’s than I suspect it would have been to a 70’s audience.  With these considerations in mind I can understand many of my peer’s sense of disappointment – in this respect it had not lived up to the hype.  However, as much I wasn’t scared in the cinema, I loved it.  I found it absorbing in a way that few films had been and was surprised by the skilful way in which it created an atmosphere.  The deep layers of meaning hidden within the imagery and narrative demanded repeated viewing.  It is a deeply unsettling film and I found that it stayed with me (as the book had) long after I’d left the cinema; something that did not happen with contemporary horror films such as ‘I Know What You Did Last Summer’ (which is instantly forgettable).  While it wasn’t what the hype had lead me to believe it would be, The Exorcist, as a film, had aged very well indeed.

After a period of about 10 years, where I watched it quite a lot, I spent a further 10 years without seeing it at all.  That is, until a few months ago, when I heard Mark Kermode (film critic and Exorcist expert/ super-fanboy) discussing it on the radio.  With some trepidation – I feared that it really might have aged badly by now – I sought out a copy and sat down to watch it again.  I needn’t have worried, it stands up incredibly well & I enjoyed it just as much (if not more) than I had before.  More importantly for this blog however, I also realised that it related, both stylistically and narratively, to the Middle Way.

Watching The Exorcist is a physical experience.  I know that watching any film can be described as a physical experience, we are embodied beings after all, but The Exorcist goes further.  You can feel the cold of Regan’s bedroom.  You can smell her necrotic breath as she lies, unconscious on the bed.  I don’t understand what cinematic tricks are used to create this effect but I suspect that it has as much to do with the sound as it has with visuals.  The ambient sound is hypnotic and the groaning rasp that accompanies Regan’s breathing creates a powerful and absorbing effect.  There are other scenes where the combination of visuals and sound work together to create the experience of embodied physicality, such as when Regan is made to undergo a range of intimidating and painful medical tests.

On the surface, The Exorcist is a fairly standard tale of good versus evil; light overcoming darkness.  During the first scene – where an elderly Jesuit priest, Father Merrin, is seen attending the archaeological excavation of an ancient Assyrian site in northern Iraq – the contrast between quiet contemplation and loud commotion is jarring.  While the scene is set within the suffocating glare of the desert sun, it is also pierced with dark imagery.  It’s within this context that we finally see an increasingly disturbed Merrin wearily, but defiantly, facing a statue of the Assyrian demon Pazuzu.  It is no coincidence that this scene brings vividly to mind the Temptation on the Mount, where Jesus overcame Satan’s attempts to divert him from his holy path to righteousness.  I’m sure that this premonition of the battle to come, is constructed and representative of several Jungian archetypes, but I’m not familiar enough to identify them all.  However, I’m confident that there’s the Hero, the Shadow, God and the Devil; the latter two also being representations of two metaphysical extremes: absolute good and absolute evil.  The key point however is that Father Merrin is not God (or even Jesus) and the statue is not the Devil (or even Pazuzu), they are both the imperfect embodiments each.

Understandably perturbed by her daughters increasingly disturbing behaviour, Regan’s mother seeks the help of neurologists and then physiatrists.  Both fail to identify a cause and both fail to succeed in their interventions.  Eventually, the perplexed psychiatrists suggest that Regan’s exasperated mother enlist the services of a priest, to which she reluctantly agrees.

The priest that she finds is a man called Father Damian Karras.  Karras is unlike Merrin, whose background is not really explored, in that he is clearly a conflicted and complex character.  We see him caring for his elderly mother, when no one else seems willing to, and we also see him, dressed in his Jesuit regalia, turn away from a homeless man who asks for his help.  Karras, then, is not a bad person, but neither is he that good.  The viewer is left to wonder the nature of this priest’s faith.  When we add to this the fact that he is a scientist (psychiatrist) as well as a priest, we start to see the depiction of a complex, multifaceted individual who struggles, in all aspects of his life, through the messy middle in which we all exist.

Karras, who is not qualified to perform the Exorcism ritual, convinces the Church of Regan’s need and Father Merrin is subsequently called upon.  The moment when he arrives at the house and looks up at the room which contains the possessed girl is inspired by The Empire of Light, a series of pictures painted by René Magritte in 1953-4.  As with the opening sequence, we are shown our archetypes juxtaposed in preparation for battle; this striking image was also used as the now famous promotional poster (which I used to have on my bedroom wall).  The clichéd battle between good and evil begins.  Except it doesn’t… not really.  Like the statue of Pazuzu, Regan is not an absolute representation of evil; she has been embodied by evil but is not the embodiment of it – she’s a 12-year-old girl.  Father Merrin is not the embodiment of good, he is just a representative of Christ (and therefore God).  This is made explicitly clear (if it wasn’t already) in an extended scene where the two priests desperately shout, ‘the power of Christ compels you, the power of Christ compels you’ over and over while throwing Holy water on the levitating girl.  A lesser film would have Merrin eventually defeat the demon and save the girl, but this is not what happens.  The elderly Exorcist dies during the gruelling exchange and Karras is left facing the demon alone.  Again, a lesser film would have Karras take up the role of Exorcist and overcome the evil force against all odds.  This is not what happens.  Religion, like science before it has failed and Karras appears to be in a hopeless predicament.  In the heat of the moment he takes the only course of action that he feels is available to him; he grabs Regan and shouts at the demon, ‘take me, take me’.  The demon gladly obliges and, a now possessed, Karras – who already exists somewhere between good and evil – is able to throw himself out of Regan’s window, where upon hitting the ground he falls down a flight of steep stairs, where he dies, presumably taking the demon with him and leaving Regan to make a full recovery.

Science, religion and the explicitly archetypal forces of good have not triumphed over evil and, in this muddled mess, appeals to authority do not always provide the promised solutions.  Instead our Middle Way hero, who’s able to hold onto his beliefs lightly, is left to address challenging conditions as they arise.  The solution he finds, I would like to suggest, seems remarkably like an extreme example of the ‘two donkeys’ analogy that is a favourite of this society.  By integrating competing desires, he is able to overcome conflict, albeit at great cost to himself.

 

Order, disorder, reorder

Critical Thinking, Film, Myth, , , ,

It’s almost a simplistic metaphor, but … picture three boxes: order, disorder, reorder. … [I]f you read the great myths of the world and the great religions, that’s the normal path of transformation.

–Richard Rohr

The words above are taken from a recent On Being podcast, where the host Krista Tippett interviewed the American Franciscan friar Richard Rohr. I’m not one for listening to religious programming, given my leanings towards the non-dogmatic and agnostic Middle Way, but I’ve found that this weekly series hosts a variety of guests with a range of beliefs, from diverse backgrounds and traditions. Krista Tippett, as host, guides the discussions in such a way that the conversations are always mature, nuanced, and tolerant of ambiguity – truly conversations rather than sycophantic platform-building or antagonistic arguments. Furthermore Richard Rohr described himself as being “on the edge of the inside” of traditional Catholicism, pushing at the boundary of Christianity in a very liberal, mystical way.

1024px-Richard_Rohr_02While I was listening yesterday to the episode featuring Richard Rohr (and I recommend listening to the full ‘unedited’ version of the conversation rather than the 50-minute ‘produced’ show) many interesting facets revealed themselves, but I was particularly intrigued to hear about his “three box” metaphor for the path of adult spiritual development. I understand that in his 2012 book Falling Upward he further explores the idea of the two halves of life, intending to show that those who have fallen, failed, or gone down in their spiritual progress are the only ones who understand ‘up’. However, I’ve not read that book(!) and what I’m going to discuss here is based on what I heard during a part of the interview with Krista Tippett.

As it is rather lengthy, I’ve split this discussion into three separate blog posts: in this, the first, I discuss the synthetic metaphorical three box model in the context of a well-known a modern myth. In the next (second) post I will consider how Rohr’s three box model might be usefully applied to political polarisation in society. In the third and final blog post I will frame my own ‘spiritual’ development in terms of Rohr’s model.

A modern myth – Toy Story
Now, I’m not sure to what extent the Disney/Pixar film Toy Story counts as a great myth of the world, but it’s a story that’s familiar to anyone in the Western world who has grown up – or has had children grow up – in the past 30 years. I have a soft spot for it, having it watched it first (somewhat guiltily) in the cinema as an 18-year old, and more recently on DVD with my son and his cousins. I’m going to use the plot of Toy Story as an example of this “three box” metaphor for the path of transformation – and note that I’m using the term ‘myth’ its original sense as a story richly imbued with archetypical meaning, and not meaning a widely-believed falsehood.

Toy_StoryAnyway, in Toy Story the character Woody, the old-fashioned pull-string cowboy doll, starts off in the metaphorical “order box” as Andy’s favourite toy, de facto leader of all Andy’s toys, and comfortable with his position in this microcosm. He is forced into the “disorder box” by the arrival of Buzz Lightyear, the astronaut action figure, who upsets the social order and brings out feelings and behaviour in Woody that he’s not had to deal with before. This disorder is a product of circumstances beyond Woody’s control: he wouldn’t have deliberately chosen to break with the status quo as he was so comfortable within it. His sense of self-esteem is closely linked with his role as Andy’s favourite plaything.

However, through the messy process of being taken out of his comfort zone and learning through novel experiences, Woody eventually is able to move into the metaphorical “re-order” box by integrating his conflicting desires and meaning, establishing a new equilibrium where he and Buzz can cooperate in their roles as Andy’s ‘favourite toys’. However, and more importantly, Buzz and Woody also enjoy the new meaning and richness that comes from their relationship with each other, a relationship that has value beyond their existence as playthings for a child.

By the end of the film Woody has developed a new perspective on his existence, one that encompasses the need for constructed order and the inevitability of uncomfortable disorder – he knows that suffering is part of the deal, and is better embraced than pushed away. Not only is Woody now wiser, but his new worldview better addresses the changing conditions, as Andy is growing up (as seen in the sequels, particularly Toy Story 3) and will no longer ‘need’ Woody, depriving him of his original raison d’etre when he was comfortably housed in the “order” box.

Note that, alongside Woody’s development, Buzz follows a parallel path of transformation. His original existence – where he truly believed himself to be a space ranger crash-landed on a hostile alien planet – may have been delusional, but it was well and truly ordered. He had a sense of who he was, what his mission was, and was confident in his superiority and rightness. Only when his delusion was eroded by continued contact with the ‘real’ world did he have to face up to disorder. Buzz’s fall from order was harsh, but he made progress through the disorder and – by uniting with Woody against common enemies – he was able to reorder his worldview into something more mature mature, integrating his love of himself with his newfound love for others (as opposed to his earlier ‘duty’ to others).

At the close of this first installment in the series I invite you to participate using the comments section below. If you can see how this model can be further extended to Toy Story, or other myths, please go ahead and share your thoughts. If you can see limitation of this model in this context of analysing mythic narratives then please also jump in. In the second installment I will move on to consider how the order-reorder-disorder model might shed some light on the problem of political polarisation in society, and in the third and final installment I’ll be viewing my own spiritual biography through the lens of this model. I hope that you will join me there…

Featured image of US mailboxes in the snow courtesy of pixabay.com
Photograph of Richard Rohr by Svobodat [License: CC BY-SA 3.0], via Wikimedia Commons
The Toy Story image is a low resolution version of the Disney-copyright poster, used for illustration only under ‘fair use’

Yielding to Buddhist torturers

Buddhism, Christianity, Ethics, Film, Religion,

The latest film from Martin Scorsese, now in cinemas, is entitled ‘Silence’, and concerns the struggles of Jesuit missionaries in a nascent Christian community in seventeenth century Japan. It’s a harrowing film to watch, because it contains a great many scenes of gruesome torture inflicted by the Buddhist Inquisitor on Japanese Christians and missionaries to get them to apostasize their beliefs, but it’s also a film that I felt raised troubling questions about how we should treat our identities and commitments. Should we be prepared to renounce them to save our lives? For someone of Christian identity, is stepping on an image of Christ just a formal gesture of no great significance, as the wily inquisitor urged? Or is it, simply by yielding to power and surrendering the individual conscience, a deeply undermining act, compared to which martyrdom might even be preferable? silence_2016_film

This film depicts a world that is a long way from any obvious application of the Middle Way – a deeply polarised world of clashing absolute beliefs. After initially tolerating limited European influence, at this stage the Japanese government had entered a phase of isolationism during which they were determined to limit foreign religious influence as well as other kinds of political influence, by any means necessary. Christian villagers are depicted as being crucified, ‘baptised’ with boiling water, summarily decapitated, drowned, or hung upside down in a pit with their neck veins opened, to induce renunciation either from them or from equally unfortunate missionary spectators. Ironically, of course, the Buddhist torture being inflicted on religious minorities in Japan mirrors the equally gruesome and better-known torture inflicted by the Catholic Inquisition on any type of heresy in Europe, at the very same time.

[The remainder of this review contains plot spoilers.]

But many people have lived in such a desperately polarised world, and indeed still do so. The Middle Way should still be practicable in such a world, as it should be in any conditions, but what does it imply? On the whole I found my sympathies with the character of Father Ferreira, an earlier Jesuit missionary who is depicted as having renounced his faith under earlier torture and to be living in Japan and studying Japanese thought. Ferreira urges the younger Jesuit who has come to find him (Rodriguez) to renounce similarly, rather than waiting for Japanese Christians to be tortured to death one by one in front of him. Ferreira recognises that the religious meaning of Christ and of Christian commitment to him is not just a matter of tribal identity, and insists that the loving action in the circumstances is to yield. After a great deal of resistance, Rodriguez finally convinces himself that Christ would understand his action, and apostasizes. In effect, Ferreira recognises the unhelpfulness of absolutizing religious commitment and confusing it with tribal identity. He seems to have made a step in the direction of the Middle Way, by allowing new information from outside to soften his previously rigid beliefs.

However, this also didn’t seem to me to be such an obviously right judgement, because of its political effects. If the state or a religious authority uses absolute power in this way, yielding to it could also be seen as encouraging that type of policy. Defying it, on the other hand, could possibly have the effect of encouraging tolerance. In the circumstances, though, the prospects of changing Japanese policy through defiance would seem to have been pretty remote. Much longer-term social and political change was required to eventually open up Japan. So I continue to see Ferreira as more justified on the whole, though with a full acceptance of the limitations of any judgement I can make from my comfortable armchair in relatively tolerant 21st century Britain.

However, I doubt if this is Scorsese’s own view. In the very final scene, we see Rodriguez’s burial according to Buddhist rites, with any indications of the deceased’s Christian origins strictly forbidden: but Rodriguez is clutching a hidden cross which his wife has presumably planted in his cupped hands. At the beginning of the final credits, there is also a dedication to the martyred Japanese Christians, ‘ad majoram dei gloriam’. Scorsese, as a Catholic, seems to want this in the end to be a triumphalist film about Christian heroism in the face of Buddhist oppression, despite the deep ambiguity of most of the film. I felt this was an artistic betrayal of the more creative ambiguity that the film would have done better to stick with.

Critics have been lambasting the film for being too long – the trademark criticism of an impatient age. I didn’t find it too long, but I did sometimes feel that the torture scenes were overdone. Despite these limitations, it is still a film well worth seeing for anyone interested in confronting the full anguish of our religious past. Although Scorsese’s artistic instincts seem to be in conflict with his dogmatism, most of the time the artistic instincts win out.

I’d especially recommend this film for any Buddhists who are inclined to idealise their religion by considering it intrinsically different from any other in the mix of its historical attitudes to violence and oppression. For example, Sangharakshita wrote:

Not a single page of Buddhist history has ever been lurid with the light of inquisitorial fires, or darkened with the smoke of heretic and heathen cities ablaze, or red with the blood of the guiltless victims of religious hatred. Like the Bodhisattva Manjushri, Buddhism wields only one sword, the Sword of Wisdom, and recognises only one enemy – Ignorance. That is the testimony of history, and is not to be gainsaid[1].

Such completely inaccurate idealisations are unfortunately still found amongst Western Buddhists, together with the assumption that the conceptual content of your metaphysical beliefs somehow makes a difference as to how rigid they are and how much conflict and oppression they create. But it’s not whether you call your ideal ‘God’ or ‘Enlightenment’ that makes the difference here, but whether you absolutise it. Scorsese’s film has the merit of making this point abundantly clear.  

 

[1] Sangharakshita, Buddhism in the Modern World

Picture: film poster copyright to the film-maker/distributor but copied from Wikipedia under fair use criterion. Please see this link for fair use justification.

 

The MWS Podcast 106: Helena Bassil-Morozow on Jungian Film Studies

Culture, Film, Jung,

Our guest today is Helena Bassil-Morozow , a cultural philosopher, writer, and lecturer in media and communication at Glasgow Caledonian University. She’s interested in ways in which we interact with our society, and particularly how our identities are shaped by our environment. Her books include ‘Tim Burton: The Monster and the Crowd’ , ‘The Trickster in Contemporary Film’. Her latest book which she has co-written with Luke Hockley and which comes out in December is entitled ‘Jungian Film Studies: the Essential Guide’ and this is going to be the topic of our discussion.


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On not saying Amen to Star Wars

Film, Religion, spirituality

The three major cinema chains that control 80% of UK cinemas recently rejected an advert that consists of a 60 second montage of the Lord’s Prayer, spoken by a variety of different people in different situations and prepared by the Church of England (see news report). The advert was set to go out before screenings of the new Star Wars film, and the church saw it as a way of reaching the wide audiences that would come to see this film before Christmas. The reason given by the cinema companies is that they do not accept any political or religious advertising, for such advertising might be offensive to some customers. The 60 second clip, however, has a simple message “Prayer is for everybody”, and (beyond what may be implied by that statement) does not advertise any particular religious view. You can see the advert here.

I can hear the Christians shouting “What’s offensive about this?” and the secularists shouting “Quite right too. We don’t want religious propaganda on our cinema screens”. But let’s try to unpick the likely assumptions of both sides a little. As usual, absolutisations on both sides tend to obscure the issues.

The Christians may find the Lord’s Prayer so familiar and culturally routine that they may not notice how absolute its language is. It asserts the existence of God in heaven. It embeds the metaphor of God as father that helps to entrench patriarchy. It asks God to exert his power and will over the earth in a way that could leave us passive or with a sense of false certainty about everything being taken care of for us. It asks God to ‘deliver us from evil’ as though to obscure all the tsunamis, cancer victims and murders in his name that he seems to have done nothing about, despite his supposed omnipotence. It also completes the fantasy by affirming belief in the kingdom, often interpreted as an ideal state in the future where God will have fixed everything. Although there are some lines in the prayer, such as those urging us to forgive others, that seem to have a helpful integrative orientation, the Lord’s Prayer taken just as a set of words is not really that inoffensive. It is indeed religious propaganda for unhelpful absolute beliefs that – at least as they are most commonly understood – will not actually help anyone to overcome conflict or address conditions better. On the contrary they may make it worse.

But then, watch the video again, this time focusing not on the words but on the people. The atmosphere of the whole carefully constructed video is extremely positive and reassuring. All the different people, in their diverse situations, are mindful and focused, taking a moment of reflectiveness in the middle of their day. That moment of reflectiveness is powerful. But then imagine all the same scenes with slightly different words. Would the effect be very different? Perhaps for some people the reassurance of the time-worn words, apparently almost meaningless but vaguely comforting, would be lost. But much of the power of that moment of recollection would remain. So most of it is not intrinsically dependent on the Lord’s Prayer itself.

The movement between diverse people all similarly focused also creates a strong sense of human solidarity that I find inspiring, even uplifting. Again though, it is not the words that intrinsically create that sense of solidarity. Religion has developed in such a way that layers of ritual affirming human solidarity are overlaid on a core of beliefs that tend to undermine that solidarity. To see how they might undermine it too, imagine the reactions that would be provoked by singing the Lord’s Prayer in a mosque, or at a lecture given by Richard Dawkins.

So, to understand what the secularists may also be missing, think about the disjunction between the absolute beliefs affirmed by the Lord’s Prayer and the positive meaning of the prayer for millions of Christians, as it is depicted on the video. Those Christians will probably be bewildered if you tell them that their prayer of peace is also productive of conflict. That’s really not what it means to them. Nevertheless, we can all integrate our interpretations of the meaning of the Lord’s Prayer by acknowledging the wide range of things it can mean, and that those meanings depend on the various bodies of the people who experience it, rather than the prayer having a “real” meaning (whether that meaning is good or bad) independent of those people and their bodies. This mistake in what we take meaning to be seems to be at the heart of the mutual incomprehension that arises on topics like this.

Another thing that secularists often neglect to recognise is that absolutisation is not at all the sole preserve of religion. Let’s go back to the Star Wars showing in the cinema. Is the Lord’s Prayer advert uniquely ‘offensive’ because it contains absolutisations (as well as conveying an experience of human reflectiveness and solidarity)? Well, if it’s offensive, it’s certainly not uniquely offensive. The Lord’s Prayer advert, if it had been shown, would probably have been preceded and followed by other adverts that encouraged people to absolutise beliefs such as that they would be uniquely attractive is they use a particular perfume, or absolutely powerful if they drive a particular car.  Belief in the value of hedonism, that value comes only from pleasure, could also be seen as reinforced by nearly every commercial advert. But these kinds of consumerist absolutisations generally pass without critical comment.Clip from Lords Prayer advert

Then there’s the film itself that would follow. Not being a Star Wars devotee, I’m not familiar with the details of the religious elements of Star Wars, but I gather that they involve a certain amount of cod Zen mixed in with the providentialism of ‘May the Force be with you’. Probably a good deal vaguer than the Lord’s Prayer, but it doesn’t sound as though it’s free of absolutisations. Those absolutisations will be far more forcefully propagandised by a lengthy film with a narrative, characters etc than they would have been by the Lord’s Prayer advert. Indeed it seems likely that by the end of the film 98% of the audience would have completely forgotten about the Lord’s Prayer, swept away by the power of fantasy. Again, the meaning of this for the people who watch it is probably far more important than the effect it will actually have on their beliefs, but that doesn’t mean that no dubious beliefs are being promoted.

So, were the cinemas right to refuse to screen the Lord’s Prayer advert on the grounds that some people might find it offensive? No. I disagree with the absolutisations in the Lord’s Prayer, but let’s also understand the role of these in context. If we start trying to control the expression of absolutisations in the public sphere in any way, let’s at least try to do so consistently, rather than picking on religious ones as offensive when commercial ones are apparently not so. In its context, too, the Lord’s Prayer advert would have functioned mainly as a moment of calm, reflectiveness and solidarity in the midst of a storm of over-stimulation, hedonism, violent combat and archetypal idealisation. Let’s have more of those moments of calm and solidarity. If they could come without absolutisations, that would be preferable, but let’s not make the perfect the enemy of the good.