Civil War

I don’t yet know what I think about Civil War, Alex Garland’s latest. I’ve not read a word from others, though I have a vague sense that there are already battle lines drawn, strong readings offered, etc. I have nothing to say about that.

I do know that Garland is smart and makes smart films. I’m hesitant to trust either my or others’ knee-jerk reaction to a film that’s clearly got things on its mind, a film that is surely not what many of us supposed it would be based on trailers and ads.

I also care not one whit what Garland himself thinks about the film. He may have thought he was making a movie about X, intending to say Y, when in fact he made a movie about A, which happens to say B and C.

Like I said, I don’t have a strong take yet. I do have one possible interpretation, which may turn out to be a strong misreading. Here goes.

Civil War is not about American politics, American polarization, impending American secession, or even Trump. It’s not a post–January 6 fever dream/allegory/parable. It’s not a liberal fable or a conservative one.

Instead, Civil War is a film about the press—about the soul of the press, or rather, about what happens when the press loses its soul. In that sense it is about Trump, but not Trump per se. It’s about what happens to the press (what happened to the press) under someone like Trump; what the reaction to Trump does (did) to journalism; how the heart of a free polity turns to rot when it begins to mirror the heartless nihilism it purports to “cover.” Words become images; images become form without content; violence becomes a “story”; an assassination becomes a “scoop.”

It doesn’t matter what Nick Offerman’s president says seconds before he’s executed. It matters that he say something and that someone was there—first—to get “the quote.” The newsroom lifers and war-time photographers documenting propaganda, unable to listen to one more canned speech spouting lies on the radio, themselves become agents of propaganda. They become what they oppose, a photo negative of what they’re so desperate to capture for their audience. (What audience? Who’s watching? There’s no evidence anybody is reading, listening, or watching anymore. Outside of the soldiers and the press, everybody else appears to be pretending the war isn’t happening at all.)

The urban warfare Garland so expertly displays in the film—better than almost anything I’ve ever seen attempting to embed the viewer on the streets and in the cramped rooms of military units breaching fortified gates and buildings, made all the more surreal by its being set in downtown Washington, D.C.—is therefore not about itself, not about the images it seems to be showing, but is instead a Trojan horse for us to observe the “PRESS” who are along for the ride. And what happens between the three leads in the closing moments tells us all we need to know. One gets his quote. One gets her shot. And one loses her shot, as she does her life, having slowly awakened across the arc of the film to the intolerable inhumanity required of (or generated by) her profession. Another propagandist, though, rises to take her place. There’s always someone else waiting in the wings, ready to snap the picture that will make her name.

There, in the Oval Office, staring through a camera lens, a star is born.

Six months without podcasts

Last September I wrote a half-serious, half-tongue-in-cheek post called “Quit Podcasts.” There I followed my friend Matt Anderson’s recommendation to “Quit Netflix” with the even more unpopular suggestion to quit listening to podcasts. As I say in the post, the suggestion was two-thirds troll, one-third sincere. That is, I was doing some public teasing, poking the bear of everyone’s absolutely earnest obsession with listening to The Best Podcasts all day every day. Ten years ago, in a group of twentysomethings, the conversation would eventually turn to what everyone was watching. These days, in a group of thirtysomethings, the conversation inexorably turns to podcasts. So yes, I was having a bit of fun.

But not only fun. After 14 years of listening to podcasts on a more or less daily basis, I was ready for something new. Earlier in the year I’d begun listening to audiobooks in earnest, and in September I decided to give up podcasts for audiobooks for good—or at least, for a while, to see how I liked it. Going back and forth between audiobooks and podcasts had been fine, but when the decision is between a healthy meal and a candy bar, you’re usually going to opt for the candy bar. So I cut out the treats and opted for some real food.

That was six months ago. How’s the experiment gone? As well as I could have hoped for. Better, in fact. I haven’t missed podcasts once, and it’s been nothing but a pleasure making time for more books in my life.

Now, before I say why, I suppose the disclaimer is necessary: Am I pronouncing from on high that no one should listen to podcasts, or that all podcasts are merely candy bars, or some such thing? No. But: If you relate to my experience with podcasts, and you’re wondering whether you might like a change, then I do commend giving them up. To paraphrase Don Draper, it will shock you how much you won’t miss them, almost like you never listened to them in the first place.

So why has it been so lovely, life sans pods? Let me count the ways.

1. More books. In the last 12 months I listened to two dozen works of fiction and nonfiction by C. S. Lewis and G. K. Chesterton alone. Apart from the delight of reading such wonderful classics again, what do you think is more enriching for my ears and mind? Literally any podcast produced today? Or Lewis/Chesterton? The question answers itself.

2. Not just “more” books, but books I wouldn’t otherwise have made the time to read. I listened to Fahrenheit 451, for example. I hadn’t read it since middle school. I find that I can’t do lengthy, complex, new fiction on audio, but if it’s a simple story, or on the shorter side, or one whose basic thrust I already understand, it goes down well. I’ve been in a dystopian mood lately, and felt like revisiting Bradbury, Orwell, Huxley, et al. But with a busy semester, sick kids, long evenings, finding snatches of time in which to get a novel in can be difficult. But I always have to clean the house and do the dishes. Hey presto! Done and done. Many birds with one stone.

3. Though I do subscribe to Audible (for a number of reasons), I also use Libby, which is a nice way to read/listen to new books without buying them. That’s what I did with Oliver Burkeman’s Four Thousand Weeks—another book that works well on audio. I’ve never been much of a local library patron, except for using university libraries for academic books. This is one way to patronize my town’s library system while avoiding spending money I don’t have on books I may not read anytime soon.

4. I relate to Tyler Cowen’s self-description as an “infogore.” Ever since I was young I have wanted to be “in the know.” I want to be up to date. I want to have read and seen and heard all the things. I want to be able to remark intelligently on that op-ed or that Twitter thread or that streaming show or that podcast. Or, as it happens, that unprovoked war in eastern Europe. But it turns out that Rolf Dobelli is right. I don’t need to know any of that. I don’t need to be “in the know” at all. Seven-tenths is evanescent. Two-tenths is immaterial to my life. One-tenth I’ll get around to knowing at some point, though even then I will, like everyone else, overestimate its urgency.

That’s what podcasts represent to me: either junk food entertainment or substantive commentary on current events. To the extent that that is what podcasts are, I am a better person—a less anxious, more contemplative, more thoughtful, less showy—for having given them up.

Now, does this description apply to every podcast? No. And yet: Do even the “serious” podcasts function in this way more often than we might want to admit? Yes.

In any case, becoming “news-resilient,” to use Burkeman’s phrase, has been one of the best decisions I’ve made in a long time. My daily life is not determined by headlines—print, digital, or aural. Nor do I know what the editors at The Ringer thought of The Batman, or what Ezra Klein thinks of Ukraine, or what the editors at National Review think of Ukraine. The truth is, I don’t need to know. Justin E. H. Smith and Paul Kingsnorth are right: the number of people who couldn’t locate Ukraine on a map six weeks ago who are now Ukraine-ophiles with strong opinions about no-fly zones and oil sanctions would be funny, if the phenomenon of which they are a part weren’t so dangerous.

I don’t have an opinion about Ukraine, except that Putin was wrong to invade, is unjust for having done so, and should stop immediately. Besides praying for the victims and refugees and for an immediate cessation to hostilities, there is nothing else I can do—and I shouldn’t pretend otherwise. That isn’t a catchall prohibition, as though others should not take the time, slowly, to learn about the people of Ukraine, Soviet and Russian history, etc., etc. Anyone who does that is spending their time wisely.

But podcasts ain’t gonna cut it. Even the most sober ones amount to little more than propaganda. And we should all avoid that like the plague, doubly so in wartime.

The same goes for Twitter. But then, I quit that last week, too. Are you sensing a theme? Podcasts aren’t social media, but they aren’t not social media, either. And the best thing to do with all of it is simple.

Sign off.