Alternate Ending: On Once Upon a Time...In Hollywood

Susan Willis argues that post 9/11 America is haunted by its own contingency. The instillation of Bush into power via the Supreme Court gave is presidency an air of the unreal. The possibility of another timeline, that of the Gore presidency hung over everything like a shadow. This sense of contingency was doubled by 9/11 which despite its trauma always seemed like something that might not have happened. If this contingency was not enough there was The West Wing on television, a liberal fantasy of a different America. 

What Deleuze and Guattari Get Wrong (About Capitalism).

From Zazzle 

As I have said elsewhere, I consider the theory of capitalism put forward in Capitalism and Schizophrenia (especially Anti-Oedipus) to be a response of sorts to the definition of capital as ceaseless modernization that Marx places at the center of The Communist Manifesto. 

Interpellated Strategically: on Jean-Jacques Lecercle's De l'interpellation and Isabelle Garo's Communisme et Stratégie

The concept of Interpellation is perhaps one of the few concepts of Althusser's to make it outside the orbit of his circle to become a general theoretical concept. It remember one year in which it seemed everywhere, showing up in books by Judith Butler and Donna Haraway. This has very uneven effects, people who are more thoroughly engaged with Althusser will point out that concept comes from a fragmentary essay, identified as "Notes towards an investigation"itself part of a draft manuscript. Its best insights are derived from either Spinoza or Lacan (depending on who you ask).

Doppelgängerland: The New Monster is Us

Monster come in cycles. Werewolves wax and wane in and out of cultural visibility, and even vampires disappear and return. There might even be an end to zombie movies someday. Perhaps the current period will be known as the year of the doppelgänger. I am referring not only to Jordan Peele's brilliant Us, but also the return of the mirror universe in Star Trek: Discovery and Counterpart on Starz. If one wanted to add a literary reference one could include Ted Chiang's story "Anxiety is the Dizziness of Freedom." (I know that there might be more stories and novels, I just reading Exhalation now and cannot resist plugging it).

Unwritten: On Richard Seymour's The Twittering Machine

Academia functions by specialization. We are all divided into our respective fields, philosophy, sociology, economics, political science, etc., and then once more into the subfields, methodologies, etc. Keeping on top of the relevant material keeps us in our little cells. Publish or perish to the extent that it still remains the law of the land has as its corollary survive by specialization. Academics are like exotic tropical fauna that survive only within a particular niche.

Breaking the Curse: On Three Recent Attempts to Theorize Neoliberalism

Moose and Lon Chaney Jr. on the set of The Wolfman

I could justify this by the way I have written about werewolves and capital, but the truth is that I just like it

To begin with something of a dialectic. The strength of neoliberalism as a concept is how expansive it is; it offers not just an account of capitalism, of economic relations, but culture, politics, and even subjectivity. The weakness of neoliberalism as a concept is how expansive it is, making it possible to call everything and anything from Uber to yoga neoliberal. It proposes a night when all cows are black, or, more to the point, when all cows are entrepreneurs of their direct farm to market line of organic milk products, as competition and entrepreneurial relations are everywhere. However, to borrow a line from Marx, this excess and limitation does not go from text books into reality, but from reality to textbooks. The instability and expansiveness of the concept might just have something to do the reality of the thing. 

Memories of a Ratman: Becoming Animal in Film, Literature, and Philosophy

Film has a strange status in Deleuze and Guattari's Capitalism and Schizophrenia. There is nothing like a theory of film in the two volumes; as much as the politics and economics of representation through regimes of signs, synthesis of recording, and assemblages of expression are theorized film is barely mentioned. The two volumes have more to say about television as medium than cinema, which will of course later be part of a two volume study by Deleuze. This is not to say that it is entirely absent, and when film does appear it is not as specific medium to be considered on its own but as an illustration of concepts and problems. Which is not to say that film is marginal these illustrations engage the central conceptual problems in each book. In Anti-Oedipus Nicholas Ray's Bigger than Life illustrates the socio-historical nature of desire beyond  family confines, and in A Thousand Plateaus the film Willard illustrates the concept of becoming animal.

Becoming Spider-Man: Deleuze and the Superhero Film

In the end of Cinema, Volume One: The Movement Image writes the following about the demise of the movement image:

Certainly people continue to make [movement image] films: the greatest commercial successes always take that route, but the soul of cinema no longer does. The soul of the cinema demands increasing thought even if thought begins by undoing the systems of actions, perceptions, and affections on which the cinema had fed up to that point. We hardly believe any longer that a global situation can give rise to an action which is capable of modifying it—no more than we believe that an action can force a situation to disclose itself, even partially.

It seems to me that Deleuze's picture of the movement image lingering on might be one way to make sense of the superhero film.

You Will Not Replace Us: On Jordan Peele's Latest

Us is a strange title for a horror film. "Them" and "It" are often the go to pronouns for horror, suggesting otherness and the unknown. In contrast to this "us" is often seen as the familiar, that which is generally threatened by some unknown "it" or "them." "Us" suggests unity not division, familiarity rather than fear, and would in general seem a more fitting title for a sappy romance than a horror movie. That Jordan Peele uses this title for his film suggests how uncanny it is, and how much the divisions between us and them are going to come under scrutiny. Jordan Peele's first film, Get Out hinged on the terror of the realization that one could be betrayed by one's most intimate relationships. While Us works with very different subtexts and cultural anxieties it takes that basic uncanny sense of the foreignness and hostility of what is most familiar to new and more twisted levels. 

The Devil is in the Details: Twilight Zone's Demonology of Capital

It is impossible to overstate how much a fan I was of The Twilight Zone.  I watched every episode of the old show, it was the reason that I had a small black and white TV in my bedroom growing up; subscribed to the magazine, a magazine which covered science fiction and published original short stories; and watched the movie and reboot.