The Circle– A Cautionary Tale

 

[David Spiselman is guest blogger for this review and author of CypherGhost, Book 7 of the Spies Lie series, an  Amazon bestseller, under his pen name D.S. Kane].

The Circle, based upon the 2013 bestselling novel by Dave Eggers, is a flawed movie but an important one. The Circle is the first movie to explore the balance between openness and privacy of technology in a way that delivers an indecisive conclusion for its viewers. It’s a polemic against technology and the Silicon Valley lifestyle, startup companies and how easy it is to assume easy answers to difficult questions. You can draw your own conclusions when you see the movie.

Tom Hanks, Emma Watson and John Boyega are a stellar cast, and will keep you entertained. Mae Holland (Emma Watson) takes a job with the world’s most powerful social media company. and joins an experiment that pushes the boundaries of privacy, ethics and personal freedom. Her participation in the experiment starts to have an impact on her friends’ lives, her family and that of the population at large.

While Dave Eggers, the author of the 2013 novel, claims he didn’t do much research, The Circle has the exact feel of the Google campus. I should know. My wife and I attended their pre-IPO party and it felt spooky seeing the movie version of what could be Google, Facebook, or any other of the massive tech giants up close.

The protagonist, Mae Holland, says “Secrets are lies.” This is a central theme of the movie, and it’s the scene you’ll revisit after you leave the theater. I advise you to see The Circle. You might dislike it. You may find it enlightening. But I don’t believe you’ll find it a waste of time and money.

“Thirteen Reasons Why”–The Amber of the Moment

Thirteen Reasons Why

The Netflix Orginal Series, Thirteen Reasons Why, is based upon the 2007 YA novel by Jay Asher, depicting the trauma of teen angst, cyberbullying, sexual assault, and suicide. All thirteen episodes were released for streaming March 31.Co-produced by singer and actress Selena Gomez and her mother, Thirteen Reasons Why has evoked heated commentary, leading to the most-tweeted TV show this year.

Thirteen Reasons Why focuses on two narrators: Clay Jensen (Dylan Minnette) and his classmate and crush, Hannah Baker (Australian newcomer Katherine Langford in a breakthrough role). In the opening scene Clay returns home from school to discover a box containing six double-sided cassette tapes lying on his front porch. These are Hannah’s tape-recorded diary, an account of why she concluded that suicide was the only way out of her pain. The twelve reasons why (later, Clay adds the thirteenth) are an intricately woven, searing and gut-wrenching fabric of young Hannah’s life– confusion and desperation that rips out her will to live. Each of the twelve tapes calls out in detail a high school student’s grave injury to Hannah, leading to her unraveling.

Hannah, a beautiful teenager new to Lincoln High School, is an only child with devoted parents.   She is eager to make friends. Rather passive at first, succumbing to boys’ arrogant and callous mistreatment in order to be accepted, Hannah soon finds the role and status assigned to her to be overwhelming and demeaning.   The confidence needed to stand up and report to school administrators is just not there. Moreover, Clay–who is secretly and awkwardly in love with her–exhibits the same lack of confidence necessary to express his feelings towards her. This is a Romeo-Juliet dance ending with horrible repercussions for all involved in Hannah’s undoing.

Hannah’s parents—concerned, compassionate, and determined to understand their daughter’s suicide—are ultimately absent from Hannah’s life. Neither is able to even identify Hannah’s friends, let alone her enemies or tormenters.  The other parents can’t deal with what is happening and bewildered, distance themselves from Hannah’s parents. In the end, what’s most responsible is the failure of parents to understand the stresses in their teenage sons and daughters’ lives and of the administrators to care enough to intercede.   Alarms bells should ring. As Clay says in the final episode, reflecting on the student body’s treatment of Hannah: “It has to get better somehow–the way we treat each other.”

Thirteen Reasons Why is, in no small part, controversial because of its graphic portrayal of the act of suicide and of assault. Some have criticized the series as a how-to manual–an inspiration, even a glorification or act of revenge– for copycat teenage suicide.   But it is an expose of teenage angst and how it can accelerate and lead to tragedy, when there is no one to help. For those of us who only vaguely remember those years in which a glance or an insult could deeply wound and be almost unbearable, Thirteen Reasons Why may seem overwrought and slow in pacing. But give it time to sink in: that teenagers are unbelievably vulnerable. In the thirty-minute discussion with professional psychologists after the series finale, we see how the warning signs are always there, if we are perceptive enough to see them and brave enough to acknowledge them.

However problematic this series may seem to some, Thirteen Reasons Why  reveals a painful and undeniable truth. Many parents know next to nothing about what goes on in their teenagers’ lives.

Kurt Vonnegut may have said it best: “Here we are trapped in the amber of the moment. There is no why.”

 

13th –Not a Lucky Number

13th

13th

The Academy award-nominated documentary by director Ava DuVernay (Selma) opens with the deeply disturbing fact that, even though the U.S. has only 5 percent of the world’s population, it has 25 percent of the world’s prisoners. This is mass incarceration and it is deeply ingrained with race and our judicial system.

The beginning of 13th is almost a recap of Slavery by Another Name. (See my review  , September 17,   2016). We see the Jim Crow laws up close and personal. Convict leasing and lynchings reached their peak at the turn of the 20th century. This vigilantism had the support of businesses who needed free convict labor to substitute for slavery which had been ostensibly outlawed by the Thirteenth Amendment to the Constitution. Increasingly, as labor was needed, more behavior was criminalized. Historical photos and movie footage disturbingly show what happens when blacks use whites-only facilities, look at a white person eye-to-eye, congregate in small groups or fail to move off the sidewalk at the sight of a white person. At the same time, blacks were excluded from the judicial system as jurors and, when sentenced for violating a Jim Crow law, were given fines they could not pay, sending them back to prison to become free labor.

Convict labor took a new turn following the passage of the Civil Rights Act in the 1960s. We see the connection between the war on drugs and mandatory sentencing of drug users, the rise in prison labor, and eventually the symbiotic relationship with for-profit prisons. 13th notes the Republican Party’s appeal to Southern white conservatives, to be the party to fight the war on crime and war on drugs. After their presidential candidates lost to Republicans, Democratic politicians including Bill Clinton joined the war on drugs. Insidiously, this “war on drugs” became a war on blacks. Minority communities endured severe penalties for first offenders while young white offenders were often given probation. By the late 20th century, mass incarceration had become an industry with privatization of prisons  served by corporate contractors to supply phone, clothing and food at exorbitant prices. Securus, for example, provides telephone services at exorbitant rates and Aramark  provides food services that are often substandard.These same special interest groups lobby for criminalizing minor activities and lengthening sentences in order to keep the prisons to capacity. For the prisoners, one felony conviction–for a minor drug offense–virtually ensures that their prospects for stable employment, living arrangements, and even voting would be out of reach.

The film explores the role of ALEC (The American Legislative Executive Committee), backed by corporations, that has provided like- minded state and federal legislators with draft templates for legislation to support the prison-industrial complex among other issues. Only after journalists exposed ALEC’s corporate sponsors did corporations like Wal-Mart and others drop out of the organization.

The relationship between profits based on 19th century slavery and profits based on for-profit private prisons is depressingly illustrated. 13th explores the demonization of African Americans to serve political ends, contributing to fears of minorities by whites and the persistent problems of police brutality against minority communities. In the 21st century, the regularity of fatal police shootings of unarmed minorities in apparently minor confrontations has been demonstrated by videos taken by bystanders and by the increasing use of cams in police cars or worn by officers. DuVernay ends the film with a graphic mosaic  of recent videos of fatal shootings of blacks by police.

DuVernay powerfully shows that the United States, in the final analysis, has to recognize its role in criminalizing not a subset of black people but black people as a whole. This has become a heinous process that, in addition to destroying untold lives, effectively transferred the guilt for slavery from the people who perpetuated it to the very people who suffered through it. The over-incarceration of adults, the movie goes on to assert, has severely damaged generations of black and minority families and their children.

This is an extraordinary film, a history lesson for us all.