The protests on Wall Street and at St Paul’s Cathedral are similar, Anne Applebaum wrote in the Washington Post, ‘in their lack of focus, in their inchoate nature, and above all in their refusal to engage with existing democratic institutions’. ‘Unlike the Egyptians in Tahrir Square,’ she went on, ‘to whom the London and New York protesters openly (and ridiculously) compare themselves, we have democratic institutions.’ Once you have reduced the Tahrir Square protests to a call for Western-style democracy, as Applebaum does, of course it becomes ridiculous to compare the Wall Street protests with the events in Egypt: how can protesters in the West demand what they already have? What she blocks from view is the possibility of a general discontent with the global capitalist system which takes on different forms here or there.
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The victory at the Oscars of Kathryn Bigelow’s The Hurt Locker over James Cameron’s Avatar was generally perceived as a good sign of the state of things in Hollywood: a low-budget, independent film overcomes a superproduction whose technical brilliance cannot cover up the flat simplicity of its story. So Hollywood is not just a blockbuster machine, but still knows how to appreciate marginal creative efforts. Well, maybe. But it’s also the case that, with all its mystifications, Avatar clearly takes the side of those who oppose the global military-industrial complex, while The Hurt Locker presents the US army in a way which is much more finely attuned to its own public image in our time of humanitarian interventions and militaristic pacifism.
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