Claim to insider knowledge (He worked at a publishing house you guys)
Testimonials promising the world
Breathless, ad-style prose
Injecting FOMO right into your veins.
What’s he really selling? An instruction book and a bunch of add-ons for $27. Which is not the worst price I’ve seen for these (Kindlepreneur, selling what amounted to a list of keywords for $100, Haw Haw!). But it’s snake-oil regardless.
I don’t doubt that the guy has some genuine insight to share. But how many successes has he actually made? There’s “Trevor Who?” whom he works like a rented mule up and down the page. And whoever the testimonials are (I’ve never heard of any of them). But do you really have to have your BS-meters set that strong to let “Write a Book in TWO DAYS that will land you legions of raving fans!” in?
Another thing I notice is that the focus seems to be on becoming an “influencer”, getting on podcasts and gaining temporary status as a a “niche authority”. What this has to do with writing a book, I have no idea. Are books even books anymore, or are they just multi-tiered branding assets?
The secret to book publishing is that authors are lits who don’t know anything about marketing and were docile teacher-pleasers in school who will accept what they’re told if it’s told with enough repetition and authority. They’re hungry for someone to recognize and appreciate their book learning, mindlessly so if they were bullied for it. Heroin addicts have stronger buyers resistance.
My point is, you might maybe get something out of this, but he’s definitely getting something out of you. Caveat emptor.
The Boys at RLM Recently did one of their “list” re:View episodes, about the films of John Carpenter. Let the record state that I’m not the biggest fan of this particular format. re:View works best as an opportunity to dust off an old/forgotten piece of cinema, turn it over backwards and front and make a case for why it’s worth looking at. The episode about Freddie Got Fingered is perhaps the pinnacle of the series, in that Mike and Jay argue that Tom Green made an anti-movie, a deliberately nonsensical and ridiculous parody of the entire art of cinema. And while a deliberately bad movie is still a bad movie, giving Green the benefit of inention has merit. This is kind of critical reconsideration is what makes re:View worth watching.
Instead, we get a set of quick commentaries on the man’s entire oeuvre, in the format of a “ranking”. I hate “rankings”. They’re an attempt to impose empirical order on what is by definition subjective, usually justified with un-nuanced blather. The internet does not need to be more like Buzzfeed.
In any case, regarding Carpenter’s 1996 film Escape From L.A., Jay and Rich basically say what they’ve always said, which is that it’s an unoriginal reboot of Escape from New York, with the same plot and a bunch of mid-90’s CGI stuffed into it. Which is nothing more than what the mass of critical opinion on this film has been since the 90’s. Nor am I going to attempt to argue with it. Some may say that Carpenter did this on purpose, which means he degenerated througout the 80’s and 90’s from being Ridley Scott to being Tom Green. And besides, that’s pure conjecture.
But there’s another way to look at Escape From L.A.: as a piece of hidden prophecy. Behold, Brian Niemeier:
In the early 21st century, an American presidential candidate wins a highly unorthodox election by leveraging a national disaster. As the front man for an extreme moralizing movement, he oversees the implementation of sweeping neo-puritanical directives to enforce his sect’s moral vision nationwide. Federal law enforcement is tasked with prosecuting Americans whose speech and actions were tolerated before the election. Citizens guilty of no crime are stripped of their rights and assets without due process and are exiled from society for retroactive violations of the new moral precepts. The government uses an engineered virus purported to be lethal, but which turns out to be a slightly enhanced version of the flu, to coerce citizens.
Meanwhile, mass immigration has overrun American cities, especially Los Angeles, with a plague of poverty and crime. Despite the construction of a wall on part of the southern border, a full-scale third world invasion of America looms.
And again, you can argue how much of these things Carpenter intended. But as Niemeier has it, there’s at least as much of a calling-out of the pieties of our age here as in say, Demolition Man. Action movies of this era have no kindness towards secular utopianists, because action movies depend upon the knowledge that achieving the good means fighting for it, that those who would abuse civilization will always be found.
In any case, he’s sold me on actually watching it, which the RLM guys did not do. Advantage Neimeier.
No, this is a link to a long post by a fellow calling himself Monsieur le Baron, who is some manner of Red Monarchist (which is not absurd, the Soviet Union was a series of Tsars, and anyone who says otherwise did not pay attention. Just go ahead and watch The Death of Stalin, it’s on Netflix). That’s fine because he uses the pretext of McNuggets to dunk (le pun! C’est absolument destiné!) on the PostModernist “art” crowd I have ponderedon before. Enemy of my enemy and all that.
There is, in fact, much spicy aesthetic wisdom in this post, linked here, including meditations on mediums and messages, high art vs. pop art, symbol & referent, and a host of other things I have begun dimly to understand. In any case, here is his knife-point, at the peroratio where it belongs:
The disdain of the modern artist for the commercial is not a sign of their own good breeding, as they so suppose, but in fact evidence of the smallness of their souls, for they are unable to emerge from the smallness of their own souls and submerge themselves in anything greater than themselves. For the act of creating such is the act of channeling the essence of the greater thing, whereas they can only write of their own meager selves. Depression this, anxiety that, and a lot of Brooklyn status panic. That about covers the bulk of modern artistic production, doesn’t it? A self-absorption.
This differs in diagnosis from what I drew from Ruskin earlier:
I’m less interested in disputing this argument than in noting the pervasiveness of it in the world of art today. If, as Ruskin seems ready to argue, the industrial world has abandoned art, in favor of infinite replicability, then it seems as predictable as night following day that the art world would abandon industry. Thus the demand for absolute novelty and uselessness in the art world, to the point where Modern art today is really anti-Art: a pose and a hustle, the creation of the maximum of bewilderment and absurdity with the minimum of effort, papered over with post-modernist bafflegab and self-congratulatory obscurantism. This is not accident, it is intentional. The modern artist can only be an artist by running from the world.
Yet perhaps not. It can be a case of “yes, and”. The young artistic type yearns to make Art. He does so with a certain degree of isolation, for only in isolation can Art be made. He gradually absorbs, without it being directly taught him, that Muh True Art stands against Muh Status Quo. This is exactly what his teachers believe, exactly what the universities have long accepted, as they grow their endowments on the stock market. Give us New Things to Sell, the Bourgeoisie command. So is the Hip Rebel transmuted into Establishment and vice versa.
In other words, it’s all a Hustle. And you have two ways to escape: find something Grand to subsume yourself into, or retreat into the tiny redoubt of yourself. Which has his education prepared the young artist to do?
Somewhere on I-81 in Virginia, there’s a billboard for Cracker Barrel, because of course there is. If you find yourself on the interstate and there isn’t a Cracker Barrel within 30 miles of you, then start taking pictures of the alien plants and the non-Euclidean geometry, because you’ve slipped into an alternate dimension. Anyway, this particular billboard caught my eye because of the slogan: “What’s the secret ingredient? Care.”
Now, I’ve eaten in many a Cracker Barrel, and enjoyed it every time, so I’m not coming from a place of dismissal. But there are 665 Cracker Barrel locations in the United States. How many Uncle Hershel’s Breakfasts do you suppose get served in them on a given day? Who invests care in them? How much?
To ask the question is to answer it. The cooks at Cracker Barrel are trained in making the food the way Cracker Barrel wants it done, so that whether you order an Uncle Hershel’s Breakfast in Tennessee, Arizona, or Maine, you are assured of getting the same meal. The cook doesn’t really care about the food, not in the same way as if he’d be cooking his own recipe. He’s following the Training. He’s working his shift.
Instead of care, the food at Cracker Barrel gets Quality Control, with Food Policies. Everything is 100% Sustainable and/or Raised Domestically, whatever that officially means. Stipulate that this isn’t just advertising, that the people who run Cracker Barrel actually want their food to have a level of quality and wholesomeness you won’t get at Denny’s. This is on-brand for them, and for the other thing they’re selling: nostalgia.
My point is that the ubiquity of Cracker Barrel is contrary to the image it’s selling. This isn’t their fault; it’s just what happens at scale. Perhaps the most relevatory film about American business of the last ten years is The Founder. Watch it and you’ll realize that there was a time when McDonald’s was revolutionary, a masterpiece of motion-study, space-management, and quality-control, when these things were new on the ground. The food was good too, simple and well-prepared. But the film also demonstrates, that at scale, commitment to care and individualization goes out the window. Why spend money refrigerating milk and ice cream when you can just make a milkshake with powder?
But at that moment, you’ve surrendered the thing that got you started. You’re no longer a chef, not even a businessman anymore. You’re a CEO, part of the network, part of the System. You may run your shop better or worse than others, but you’re a million miles removed from the customer experience. Yet however bad that sounds, it really doesn’t matter, because once you’ve created a product that reaches sufficient recognition, you don’t need to curate customer experience anymore. McDonald’s isn’t a burger joint, competing with other burger joints, it’s a brand, competing with other brands. The brand sells the burgers, not the other way around.
This is what’s happening in entertainment as well. People who bemoan the loss of original content might as well be speaking in Linear-A, for all the suits will hear them. A movie can succeed or fail at the box office. An Intellectual Property cannot fail once its hit critical mass. People screamed to the heavens about the Ghostbusters remake, and it bombed, but they made another movie, didn’t they? It doesn’t matter that its dumb, it doesn’t matter that they didn’t manage to create a Cinematic Universe out of it. It’s an Intellectual Property. It cannot fail, it can only require new recycling. There’s still a market for Halloween movies, isn’t there?
I’ve mentioned this before, and it’s been talked about on Shallow & Pedantic: the point at which the product no longer requires editing, because people who like it have become FANS. Fans aren’t always uncritical, but they’re always customers, and a hater’s dollar is just as good. There’s no such thing as bad publicity. Therefore, you can screw up Star Wars as much as you want, and people will still buy tickets for it. This creates a perverse incentive for the creators. If I can butcher the story as much as I want, and pissed-off fans still buy tickets, then what difference does it make?
This is why they keep making Terminator movies. Of course they suck. Any film after T2 was destined to suck, because they could only make them by wrecking or rewriting the lore of the first two films. But if angry fans keep showing up, then announcing their criticisms to the world, then the brand still exists. Everyone hated Terminator: Genysis; but Terminator: Dark Fate happened anyway. Meanwhile, I haven’t seen a Terminator movie since 1991. I am utterly at peace with its flailing.
The only thing that kills brands is indifference. Either indifferent leadership and bad management, or worse yet, public indifference. People have been hating McDonald’s as long as I’ve been alive. It’s still there. The day people stop caring about it, forget in their head that it even exists, that’s the day it stops being a brand, and becomes an artifact for historians.
I’ve got a Content Blues Podcast about halfway recorded, and then there’s a Shallow & Pedantic planned to be recorded this weekend. Of the two, the CBP is easier, because I can add to that whenever I want. The work is getting enough recorded to fill out about 30 minutes or so of material. Any more than that is probably too much to listen to one person talking. Also, I find myself running out of things to say at about that time.
Shallow & Pedantic has the opposite dynamic. The last two I’ve had to edit things out so as to not get past an Hour and a half. Which has been about standard since we added the third man to the podcast. Prior to that, episodes were about an hour. So it seems that each person adds 30 minutes of talking. That doesn’t exactly match all podcasts I’ve listened to, but I have noticed that the more people you add, the longer it goes on. That must be why carrying a conversation at parties feels like such a chore.
Doing a podcast can feel like playing in a jazz quartet: you’ve got to keep some kind of a rythm, you’ve got to trade the flow properly, and you never know when you’re going to begin what it’s going to sound like. Some podcasts are free jazz or avant-garde, everyone just shouts, and the strongest voice will be heard. We’re not going for that vibe. It’s a serious podcast about unimportant things. A lot of them are unserious podcasts about important things. Which is better, I guess than unserious about unimportant. But I can’t imagine doing it that way. Why talk about the maelstrom of pop culture, most of which is derivative and unoriginal, unless you’re trying to form some kind of understanding of the world and why we respond to it in this way.
Art is the relationship between man and nature. If it’s bad, something’s going on to make it bad. You can call this “structural” if you want to, but that’s a word clunky and overused by communists. I prefer to call it “the thing unspoken”. Why are sitcoms the way they are? Something unspoken in their conception, production, and marketing, known to those inside the biz but not to the audience. That’s the kind of things that interests me.
I may have made fun of it a while back, but honestly, I don’t hate the concept. I might scope it if it rolls through one of the apps I have. I cannot, however, promise that I will do that. Movies in this era are largely an individualized aesthetic exercise, not a community one. The atomization of entertainment has accomplished this. There will be big tent things – Marvel Cinematic Universe and Game of Thrones-type things going forward, but with diminishing returns I suspect. They’re expensive, and depend on a consumer base that can turn on you if you don’t give them exactly what they want. See, also, everything I’ve written about Star Wars.
This means that the future of the Oscars is in the Art House. The double-tier of Art Gratia Artis vs. Cinematic Circus for the Masses — Nomadland on one hand, Godzilla vs. Kong on the other — will become more pronounced. There will still be an audience for the Oscars, as there will be a lot of money in making sure there is (one might argue that all the dim Wokery of recent years reflects not just the actual sentiments of Hollywood but a need to generate controversey, live-action clickbait, if you will). But as a reflection of the people it will pass. It’s going to become a lot easier for most folk to simply not care.
This will become exacerbated as streaming becomes the normal way to see a film for the first time. Scorcese was fighting a rear-guard action. There might be a boomlet in going to theaters when the pandemic finally ends, but all the economic forces are shoving against prioritizing the theater experience. The younger generations are not as devoted to it. Family movie nights are going to be replaced by Family Movie Tickets on the Streaming Service of your choice.
And because of this, the films that make the most impact will be harder to determine. Netflix is famously secretive about its streaming numbers. Thus, the kind of box-office academy coup wherein a less-artistic but popular film (everyone talks about Shakespeare in Love, but does anyone remember when Titanic and Gladiator won Best Picture?) overwhelms the snobs’ favorite will become harder and harder to pull off.
This means that Oscars are going to be harder and harder to pre-game and will include more and more films that nobody has seen. It will eventually be as relevant as the Emmys. Huzzah.
A little while back, I analyzed Kevin Spacey through the lens of one of an indie Hollywood navel-gazer, Swimming With Sharks. It was, I decided a window on Spacey’s soul, the self-justification of all immorality “It was like this when I got here.” But beyond that, the story had a mark of truth to it, in that it was describing a very real kind of office tyranny.
On a larger level, this piece of art from 1994 underlines the reality that Hollywood has always been this way, that Weinstein and Spacey and everyone else are just the current manifestations of an industry in which youth and beauty and popularity and every expression of the human soul is a commodity sold by the theater seat. Entertainment is high-reward, high-risk: and the wisdom of William Goldman: “Nobody knows anything”, means that you will lose money just as often as you gain it (even a piece of a sure-thing like Solo: a Star Wars Story, is looking like a big fat pile of disappointment for Disney). Consequently, someone who pays his dues and has a track record of bringing home the bacon gets a pass for whatever swinery happens behind closed doors.
Most of it is what you would expect from “terrible boss”: screaming tirades, insults, throwing things, absurdly specific commandments, classic abuser behavior. But here’s the kicker:
Chellie Campbell worked as an assistant to Rudin and his boss at the time, television and film producer Edgar Scherick, from 1982 to 1984 in Los Angeles. Having worked with Rudin when he was in his early 20s, Campbell saw a different side of the producer than assistants in later decades. While Rudin was demanding and would yell at Campbell, Scherick’s constant angry outbursts were much worse, she said. She felt that Scherick’s actions signaled to Rudin that this type of behavior was acceptable. Campbell, who is currently 71 and a “financial stress reduction” coach, left the entertainment industry after working for Rudin and Scherick. She recalled the first job interview she had after leaving: “They said, ‘Well, the main thing we want to know is if you can work with difficult people.’ I burst out laughing. I said, ‘Let me tell you some stories.’”
“He would have been 23, 24, and had just come from New York, where he had gotten a very early start at age 16. He was very charming during the job interview. Very nice to me. I was about ten years older than him. I remember him asking if it bothered me that I was older than him. I said, “No, you’re a producer. I’m not. I’m happy to learn what you know.” I worked for him for about nine months and then I moved up to working for Edgar. I found much more anger and eruption from Edgar. He was so volatile. One time he jumped up on my desk, screaming at the office runner who did errands all the time. I had never seen people behave like that. And that was happening all the time. Scott, it seems to me, kind of got permission. These people are not alone in the motion-picture industry of being screamers.”
Vulture.com, “Scott Rudin, As Told By His Assistants”
Well, of course. He didn’t just decide to act that way; he learned that it would be acceptable, permissible within the entertainment industry. The hungry need the powerful, the powerful feed off the hungry. It’s a servile relationship by its very definition. The Law of Averages dictates that some will ride this to the extreme. It was always thus; it will always be thus.
“I want to say how much I respect and applaud the people that have spoken up about their experience working with Scott Rudin. It takes an enormous amount of courage and strength to stand up and state your truth. This has started a conversation that is long overdue, not just on Broadway, and the entertainment industry, but across all workforce. The most important voice we needed to hear from was Scott Rudin, he has now spoken up and stepped away from The Music Man. I hope and pray this is a journey of healing for all the victims and the community. We are currently rebuilding the Music Man team and are aspiring to create an environment that is not only safe, but ensures that everyone is seen, heard and valued. This is something that is and has always been very important to me.”
Hugh Jackman, in a statment that was totally not written for him, on Twitter.
Honestly, who believes any of that is genuine? It’s all the same language that everyone is expected to say in these situations, as formulaic as a Marvel origin story. You could play Bingo with it: “respect and applaud”, “courage and strength”, “state your truth”, “started a conversation,” “journey of healing” “aspiring to create,” “everyone is seen, heard and valued”, YATZEE!. A bot could write this. Meanwhile someone Scott Rudin trained is already turning his own office into a tiny post-modern gulag. The “conversation” won’t happen. No one will be seen, heard, or valued. The Beat Goes On.
Therefore, what is the purpose of these outings? Is it just that it’s this one’s turn, like Harvey Weinstein before him? Or is it that, some reptilitian portion of the brain really likes these kinds of stories? Who doesn’t enjoy tales of monsters, get off on the vicarious thrill of power? And Hollywood has always loved the dark image in the mirror. Fear Us, For We Are Beasts, say the deracinated nerds who abuse each other for points before the gross. So, let this pig take the fall. He’s got it coming, and there will always be another one, and if there isn’t, we’ll make one.
I don’t care how dead the horse; I’m gonna beat it more.
Observe the nominees for Best Picture:
The Father: Someone feeds Anthony Hopkins from his gruel bowl for two hours. Feels ensue.
Judas and the Black Messiah: Did you Know that the FBI infiltrated groups hostile to the United States Government? I am shocked, shocked I say! And Appalled!
Mank: Rhymes with stank. I saw this on Netflix, because I thought it might be interesting. It isn’t. It’s just the usual Hollywood Onanism. Not even Gary Oldman can breathe life into this opera of obvious. Fincher needs to start picking better projects.
Minari: Family goes farming. They’re Korean so it’s A Profound Commentary On Our Times. Granny shows up and cusses to keep people awake.
Nomadland: Eat, Pray, Love goes slumming.
A Promising Young Woman. I saw most of this. It’s not bad. There’s even an aspirative nod towards elements of Greek mythology. I found myself re-writing the third-act confrontation in my head, and the final minute should be part of the Merriam-Webster entry on “contrived” but I didn’t hate it.
The Sound of Metal: I might still check this one out. There probably won’t be enough Metal, though.
The Trial of the Chicago 7. Okay, Boomer.
All of these are Movies With Causes: Old Age Care, Racism, Eat the Rich, Immigrants, Poverty, Rape Culture, Disability, and Civil Rights for Leftists (imagine a cinematic hagiography of the Capitol Rioters. Even describing a world where that would happen is practically sci-fi). They’re not movies; they’re sermons. And nobody saw them.
“Yeah, but that’s because of COVID”. Wrong, Slappy. Movie Theaters were still open last year. COVID shrunk box-office takes, but didn’t wipe them out. People still dropped 200 Million to watch Bad Boys For Life. There were other choices. They chose these because these are what Oscar movies are now: pseudo-indie moralizing stuffed into a three-act structure. The power of cinema to appeal to mass audiences, to achieve art for the masses, has been swallowed up in the cynicism of Algorithim Nostalgia. The Art is for Artists, everyone else gets schlock. And the beat goes on.
The joke of the year (decade?) is they don’t, and I’ll have to explain to my grandchildren that long ago there were these big living rooms with hundreds of seats that people used to pay half the price of a DVD (what’s a DVD, grampa?) for one ticket, and by kitchen snacks for, and sit with a bunch of people you did not know and listen to them eat and talk on their phones and otherwise interrupt your film. Unless of course, the movie wasn’t popular, in which case you probably wouldn’t see it, or you’d see it in the giant living room and sit way to close to it, because you could, and walk out with a neck cramp. Because that’s what movies were.
But as it turns out, there are still theaters open. Not any in my neighborhood, but near enough that I could get there if the urge was really on me. So let’s see what we’ve got, at a theater less than an hour from my house:
Wrong Turn(Rotten Tomatoes Score: 29%). Hikers on the Appalachian trail do the thing they’re warned not to do, stumble into land that ain’t theirs, get the Texas Chainsaw Massacre/Green Inferno treatment.
The Marksman (Rotten Tomatoes Score: 34%). Liam Neeson takes on a drug cartel on behalf of some migrants. He learned to shoot good in the Marines, though, so it’ll probably be fine.
News of the World (RTS: 89%) Tom Hanks rescues a child kidnapped by Indians, fights the entire West to take her to her kin.
Wonder Woman 1984 (RTS: 60%) Wonder Woman does Wonder Woman things while Evil Mr. Business does Capitalism Things, in a film made by a marketing committee of a major international corporation.
Fatale (RTS: 46%) Hillary Swank goes Fatal Attraction on a dude. It’s meaningful because she’s a cop and he’s black? I got nothing.
Monster Hunter (RTS: 49%) “So what, are we Guardians of the Galaxy now?” May be the most truthful and pathetic line ever put into a trailer.
The Croods: A New Age (RTS: 77%) Low-Rent Flinstones are back for… something. Who cares.
Freaky(RTS: 83%) Serial Killer inhabits a high-schooler in this parody of a concept that actually got made. Good for them.
Come Play(RTS: 56%) Autistic kid summons monster from his phone in the most 21st Century horror film imaginable.
The Emperor’s New Groove (RTS: 85%) A re-release of a film we paid $26 for on DVD, and are glad to have done so, because its not on Disney+ (neither is Enchanted, because Disney enjoys annoying its fans).
This is an odd collection of films, and some might call it even barebones (granted, it’s January). But there’s at least two of those I would actively choose to see if I actually felt like going to a theater. So, it seems there might actually be a pulse on the film industry. I saw the trailer for a Tom Hanks film and wasn’t immediately bored. That’s something.
This will be the last of these, as I’ve finished the book, and am now Observing Nietzsche flop-sweat his way through Why I Am So Wise. I kind of want to smack him, but Ruskin has proven a very informative read. For a 19th Century Englishman, he is both articulate and relatively concise. And he has given me interesting aesthetic ideas to poke about with.
The Greek Sculptor could neither bear to confess his own feebleness, nor to tell the faults of the form that he portrayed.
John Ruskin, “On Art and Life”, pg. 44
This is a reference to the Hellenic habit of idealizing its subject, as contrasted to the Gothic willingness to dance with the Savage and Grotesque. Ancient Greeks, we are told, even carved the backs of columns, the ones the public would never see, while the more practical romans would leave them rough, because who cares? This is because the Greek was aiming at a true Form, a divine Ideal. The permanent expression of a higher ideal is, or ought to be, what all architects aim at.
The Nation whose chief support was in the chase, whose chief interest was in the battle, whose chief pleasure was in the banquet, would take small care respecting the shapes of leaves and flowers.
ibid, pg. 46-47
Here’s he’s contrasting Early Medieval Germanic Art, a simple form, with High Medieval Gothic Art, which has embraced Naturalism. This would seem to be a rebuttal of my point about Art emulating Ideal, but it isn’t. Barbarians idealize the chase, the battle, and the banquet as expressions of power and granduer, which in their theology is the very essence of divinity. Valhalla is very Heaven.
No architecture is so haughty as that which is simple; which refuses to address the eye, except in a few clear and forceful lines; which implies, in offering so little to our regards, that all it has offered is perfect; and disdains, either by the complexity or the attractiveness of its features, to embarrass our investigation, or betray us into delight. That humility, which is the very life of the Gothic school, is shown not only in the imperfection, but in the accumulation, of ornament.
ibid, pg. 54-55
Another prophecy of Brutalism, which expresses nothing but the power of the organization that builds or occupies it. It is Cyclopean, Titanic. And contrary to the Cathedral, which is open to all, high or low, rich or poor, and a center to the life of the whole community, the skyscraper or government office block is for no one but those who have business with it. It is closed off, a fortress of money or of rules, acting to exercise power over those who will never darken its doors. The corporation as the Nietzschean Superman.
Your iron railing always means thieves outside, or Bedlam inside – it can mean nothing else.