The Good, the Bad and the Exaggerated in Michael Moore’s New Film, ‘Capitalism: A Love Story’
Michael Moore’s new movie, Capitalism: A Love Story, doesn’t pull any punches in its depiction of capitalism as the monster that is destroying America. Moore’s villains range from Wall Street bankers to Wal-Mart to Treasury Secretary Timothy Geithner, while capitalism’s victims include those who are losing their jobs, their houses and, in some cases, their faith in a system that is supposed to reward hard work and playing by the rules. So Michael Moore scores some points there, although he was very selective in the way he did it. I don’t believe in the level of redistribution that Michael Moore would believe in – unconditional, not based on effort. At the same time, Michael Moore’s conclusion isn’t that we need to have more regulatory reform, especially to protect consumers, which is something I think we are in great need of – or that we simply need some more redistribution, which I also agree with if done smartly.
Michael Moore was right that the mortgage area needs serious regulatory reform in order to make mortgages very transparent. A lot of people wanted something more than they could afford. So we have a lot lower prices than we had. It’s a lot cheaper to fly and there is a lot more competition. The problem is we have a lot of people who really enjoy flying.
We all value art, but [because] a lot of people want to be artists, they don’t get paid [much]. No occupation pays well when a lot of people enjoy doing it – unless we simply tell some people that they can’t do what they love. In the mortgage field, a lot of people weren’t making well-informed decisions.
Jeri Hogarth: Jessica Jones & Female Capitalist Success
I’ve loved Jessica Jones’ ruthless lawyer, Jeri Hogarth, since she debuted in the first season. I thought it was a brilliant switch to make the comics’ male Jeryn Hogarth into Jeri Hogarth, but still imbue her with all the callousness, drive, and selfish confidence that we associate with high-powered corporate lawyers. That’s because Jeri’s queerness is never the source of her evil; wealth is. Jeri is a powerful, driven career woman, but the things that make her so powerful-buying into the corporate game, shameless self-interest, and a confidence that being smart and rich gives you the right to control other people-are also the things that so often make her evil. As the second season opens, we find Jeri doing much of the same.
Jeri is rude to the sex workers she hires; she ogles her yoga instructor. Jeri is, as she’s always been, a woman who likes a little indebtedness in her romantic partners, her associates, and her friends. Her growth here was getting back to being Jeri even in the face of something she couldn’t control-something that, in its power over her and in the way it leads to her humiliation, could have made her not feel like Jeri anymore. In all her many facets, Jeri captures my incredibly complicated feelings about women like this. With Jeri Hogarth, Netflix is exploring those contradictions of female corporate power.
We see Jeri’s admirable tenacity, intelligence, and confidence in a world that tells her to shrink herself. Jeri is a powerful, successful queer woman in a world that makes it really, really hard to be such a thing and still be decent.
Why Intellectuals Hate Capitalism
Mackey, 62, continues to set the pace for what’s expected in organic and sustainably harvested food. Because of Whole Foods’ educated customer base and because Mackey is himself a vegan and a champion of collaboration between management and workers, it’s easy to mistake him for a progressive left-winger. A high-profile critic of the minimum wage, Obamacare, and the regulatory state, Mackey believes that free markets are the best way not only to raise living standards but to create meaning for individuals, communities, and society. Conscious Capitalism, the 2013 book he co-authored with Rajendra Sisodia, lays out a detailed vision for a post-industrial capitalism that addresses spiritual desire as much as physical need. Reason: You believe capitalism is not only the greatest wealth creator but helps poor people get rich.
John Mackey: Intellectuals have always disdained commerce. You might say that capitalism was the first time that businesspeople caught a break. Mackey: It’s sort of where people stand in the social hierarchy. Mackey: I don’t know if it’s a psychological switch so much as that they weren’t necessarily grounded in the philosophy of capitalism. They’re attempting to not fall, so they try to rig the game, and we have crony capitalism.
Mackey: The impetus behind so many of these types of regulations in the workplace is, in a sense, to shackle business again-to get it back under the control of the intellectuals. It’ll stifle the dynamic creative destruction of capitalism.
Brecht’s key debate was class equality, where the influence of Karl Marx, Louis Althusser and Antonio Gramsci’s theories were and still are evident in Brecht’s plays. The Threepenny Opera: The Ballad Opera and the Socio-political Criticism and Change Bertolt Brecht’s aggressive political idealism and determination in using art to pose challenging questions about the conflicts between society and morality generated intense controversy throughout his lifetime. Brecht offers alternatives in life rather than Gay’s mocking characters that just make the viewer laugh 19 PDF created with pdfFactory Pro trial version www. The problems stem from the fact that when Brecht wrote the play he was only beginning to explore Marxism and he did not yet identify with the class struggle. Brecht’s final goal is that he wants the audience to leave his play with a logical desire to change society.
Brecht is trying to make people think about the play rather than feel emotions. Brecht’s use of songs does not represent any attempt aiming at intensifying or heightening the conflict of the play. The songs in Brecht’s plays deserve some discussion because they are as famous as the play itself. Brecht exposes his understanding of death penalty in the play. The story of the play is dramatized by Brecht from an old Chinese parable.
Brecht’s attitude towards war is derived from Marxism. Brecht should have something rather than cause and effect to connect the separate parts of his play.