Tag: John Wayne

“The Terminal List” and America’s Vision of the Heroic

“Trust no one” could be the motto of “The Terminal List.” And “kill all those who betray you.”

W.J. Astore

What is it about this country and guns and violence?  

The Westerns I watched as a kid (John Wayne in particular) had guns in them, of course.  Colt pistols, Winchester rifles, an occasional shotgun.  And there was no shortage of violence.

But nowadays shows/movies feature much more gunplay with military-grade weapons and armor.  The Western isn’t in vogue today.  It’s military dramas instead.  America’s overseas wars have come home for real on our streets and in mass shootings, but they’ve also come home on our screens, where SEALs are the new heroes.

A short series I recently watched, The Terminal List, features a Navy SEAL who must “go to war” domestically because he’s been betrayed by the U.S. government, which even kills his wife and daughter.  Action scenes feature sniper rifles, assault rifles, grenades, explosions, and torture (one man is hung by his own intestines).

Torture and war, common to America’s war on terror, are now here to terrorize us, on our screens but also increasingly on our streets. Strangely, I don’t hear anyone complaining about violence on TV, as people did in the 1980s.  It’s now acceptable, par for the course.  We are inured to it.  Worse: we desire it, or at least some of us do, judging by the success of The Terminal List and similar shows.

The theme is “trust no one” and exact your revenge in the most violent way possible.  The SEAL in Terminal List keeps his own kill list: echoes of Barack Obama and his presidential kill list.  But a democracy saturated in militarized violence can’t possibly survive as a democracy.

Interestingly, today it’s the MAGA Right that distrusts government with a passion.  Fifty years ago, with the Vietnam War running down and Watergate winding up, it was the Left that distrusted government.

One of my favorite movies from the 1970s is Three Days of the Condor, which can profitably be compared to The Terminal List.  The hero in the first movie is a bookish guy who’s betrayed by the CIA.  The hero in this year’s Terminal List is a Navy SEAL and a violent man of action.  In Condor, Robert Redford’s character outthinks his opponents and goes to the New York Times with proof of governmental corruption.  The Navy SEAL simply kills all his enemies, or they kill themselves when faced with his demands for retribution, with an impressive range of deadly weapons.  (Of course, such violent fantasies of hard men meting out murderous justice are hardly new; think of Sylvester Stallone as Rambo or various Chuck Norris vehicles.)

The Terminal List is truly a series for our times.  It’s slickly done, and Chris Pratt is good in it.  What it reveals is the profound skepticism so many Americans have in their government and in corporations — and rightly so.

The problem is elevating a Navy SEAL as the principled hero. SEALs make good warriors but are they what America wants for vigilante justice?  In real life, SEALs can be loose cannons, as recent events show.

For me, real heroes are not often chiseled men of action like Chris Pratt’s Navy SEAL, with all his guns and violence.  Or for that matter Rambo. Think instead of Chelsea Manning, Daniel Hale, Edward Snowden, and Julian Assange.  They may lack bulging biceps and impressive arsenals, yet Manning and Hale went to prison to reveal war crimes, Snowden is in exile for taking on the government and telling us the truth about wars and our surveillance state, and Assange is being tortured in prison for practicing oppositional journalism, otherwise known as real reporting.

Heroes in life come in all shapes and sizes; a Navy SEAL may be among the least likely of shapes and sizes we’ll see.  They often do their best work without guns and grenades and without lengthy kill lists and torture routines.  Their strength is measured by their principles, not by their pecs.

I think even John Wayne might agree with me here.

Winning the Afghan War — In Hollywood

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W.J. Astore

A new movie, “12 Strong,” is opening on January 19th.  I’ve been seeing a lot of trailers for it while watching the NFL playoffs.  It’s being advertised as America’s first victory in the “war on terror.”  Based on a popular book, “Horse Soldiers,” it features American special operations troops charging into battle on horseback.  The synopsis of the movie (at Fandango) describes it as follows:

“12 Strong” is set in the harrowing days following 9/11 when a U.S. Special Forces team, led by their new Captain, Mitch Nelson (Hemsworth), is chosen to be the first U.S. troops sent into Afghanistan for an extremely dangerous mission. There, in the rugged mountains, they must convince Northern Alliance General Dostum (Negahban) to join forces with them to fight their common adversary: the Taliban and their Al Qaeda allies. In addition to overcoming mutual distrust and a vast cultural divide, the Americans—accustomed to state-of-the-art warfare—must adopt the rudimentary tactics of the Afghani (sic) horse soldiers. But despite their uneasy bond, the new allies face overwhelming odds: outnumbered and outgunned by a ruthless enemy that does not take prisoners.

I don’t think it will surprise anyone that, despite those “overwhelming odds” and being “outnumbered and outgunned by a ruthless enemy,” U.S. troops prevail.

Watching the trailers on TV is a surreal experience.  You get the impression the U.S. cavalry sounded the charge and won the Afghan war in 2001.  You’d never know U.S. forces are still fighting in Afghanistan in 2018, facing a “stalemate” and a resurgent Taliban that controls vast swaths of territory, and that U.S. forces face a “generational” slog to an endpoint where victory is indeed ill-defined.

Even though America is treading water in the Afghan war, Hollywood has cherry-picked an episode from the early days of that war, in the tradition of a John Wayne movie (like “The Horse Soldiers“).

wayne

The Wild West has been reset to Afghanistan with U.S. troops as the new sheriff in town, with the Taliban serving as the “savages” in the old Western tradition.

It’s the U.S. cavalry to the rescue, in the wild Afghan mountains.  Yet highlighting this one episode in America’s quagmire war in Afghanistan is more than misleading.  It’s as if the Japanese made a film about World War II that began and ended with Pearl Harbor.

Remember when Candidate Trump boasted that, when he became president, Americans would win so much, we’d get bored with winning?  “Believe me,” he said.

Maybe this is believable … at the movies.