Monday, March 16, 2020


Is America’s largest evangelical denomination about to get even more conservative?




By Chrissy Stroop, Religion Dispatches March 9, 2020


There is perhaps no easier way to illustrate the history and present realities of white evangelicals’ pluralism problem than by turning to the Southern Baptist Convention. These days, the range of acceptable political opinion among white Southern Baptists ranges approximately from very right-wing to ultra right-wing. But even as the SBC struggles to come up with an effective response to numerous cases of abuse and coverups that have come to light in recent years, some of the prominent ultra-right-wingers are clamoring to suppress the merely very right-wingers, whom they disdain for being “too liberal” and blame for declining finances in the SBC’s central structures.

The primary target of the ultras’ ire is Russell Moore, head of the SBC’s Ethics and Religious Liberty Commission, a body that was formed on the foundations of the older Baptist Joint Committee for Religious Liberty (with which the SBC cut all ties in 1991) and the Christian Life Commission. The ERLC’s founding was part of the culmination of the SBC’s so-called “conservative resurgence,” a purge of liberals from SBC leadership and institutions that dominated SBC life in the 1980s and 1990s. The hostile takeover was led by men like Paul Pressler, who stands credibly accused of molesting boys over decades, and Paige Patterson, who was disgraced in 2018 when audio surfaced of him counseling an abused wife to stay with her husband and to try to change him through prayer.
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As Boston University Professor emerita Nancy Ammerman and the SBC moved in divergent ideological directions in the 1980s, she became a scholar of the denomination she grew up in. As a young sociologist, Ammerman sought to understand the processes that fuel a denominational split, and her efforts yielded critical documentation of how the “conservative resurgence” played out.

On her telling, the Baptist Joint Committee and the Christian Life Commission “were the prime whipping boys for the conservatives in the 80s.” The question thus inevitably presents itself: might the ERLC now, in the continuation of a toxic trajectory that began decades ago, be the target of a purge of the SBC’s very right wing carried out by its ultra-right wing? RD turned to Ammerman for insights into parallels between the 1980s and the present and where the SBC may be headed from here.

Tensions are clearly brewing again. Hardliner William Harrell, a retired SBC leader who oversaw the denomination’s break with the Baptist Joint Committee, has publicly accused Moore and the ERLC of ceasing to represent the interests of the general SBC membership. It’s hard to escape the conclusion that, in a certain sense, he’s right. Moore has criticized Christian support for Donald Trump, but, Ammerman notes, “Like the rest of white evangelicalism, [the SBC leaders have] hitched their star to Trump, and so long as he is dominating the conservative landscape, that’s where they will fit in the larger American landscape. And that’s a niche that is increasingly defined by white privilege and by race.”

Moore is well known for his advocacy of “racial reconciliation,” an approach that some critics find falls short of robust anti-racism. Even so, Moore managed to bring a number of non-white churches into the SBC fold, a legacy that is now in question as the SBC is largely defined by Trump support. Ammerman says that from what she can see, the conservatives who are looking to remove Moore are “pretty explicitly pro-Confederate South.” The racism in the SBC, she contends, is closer to the surface now than it was even in the 1980s. Per Ammerman:

A big question for me is what the African-American churches that have come into the SBC in the last twenty years are making of this allegiance to Trump and to the conservative Republican Party. And it’s up for grabs also what the younger and better educated members of the denomination are going to make of it.

Moore’s right-wing bona fides include defining pluralism and feminism as “problems in the church.” Even so, there are many in the SBC who find Moore’s criticism of Donald Trump, and, it seems, even Moore’s willingness to insist publicly that abused spouses should leave their homes and call the police, unforgivable. Says Ammerman of Moore’s response to the SBC’s domestic violence scandal, “He knew it would get him no acclaim with conservative Baptists and that it might get him into trouble.” Indeed, some pastors are defying SBC President J.D. Grear’s recommendation by extending speaking invitations to Patterson, who clearly remains a hero to some Southern Baptists, despite his mishandling of sexual assault in Southern Baptist seminaries and the abusive theology he spouted to survivors of domestic violence.

Meanwhile, Moore’s ERLC is facing an investigation that SBC Executive Committee Chair Mike Stone claims is not aimed at removing Moore from his position. At the same time, however, Stone said that the investigation will most likely look into the question of whether the ERLC has outlived its usefulness. The ERLC’s Executive Committee’s response thus far is one of defiance.

Where will the SBC go from here? As America’s largest Protestant denomination, representing about 14.8 million people, this is a critical question as the SBC heavily influences evangelical publishing and institutional life, which in turn has an outsize effect on American politics.

The last time Ammerman attended an SBC annual meeting as a Southern Baptist messenger (that is, an official representative of her congregation) was in 1984. In 1985, when the fireworks really started, she attended as a scholar engaged in ethnographic participant-observation. “’85 was the first time that both sides really mobilized to get supporters to the convention,” she recalls, noting that the typical attendance of close to 10000 more or less quadrupled that year. If the forces arrayed against Moore want to force the issue, one path they can take is to draft a resolution for the annual meeting and then make sure their supporters attend en masse. Should they make preparations to do so, Moore and his supporters will have to mobilize their own backers for the showdown.

It’s impossible to say at this point exactly how likely this scenario is, but Ammerman considers it within the realm of the possible. Asked whether the SBC’s current response to its abuse crisis is adequate, Ammerman replied, “It can’t be, partly because of the independence of local Southern Baptist churches,” which makes it impossible to address abuse with “adequate coordination.”. Critically, this lack of coordination has thus far prevented the decentralized SBC, with its Byzantine administrative structures, from publishing a database of known sex offenders in SBC churches.

Patriarchy, too, is at the root of the problem, as the SBC does not allow women in leadership. Asked whether a theology of “biblical patriarchy” is inherently abusive, Ammerman hedges. “It is certainly a contributing factor in allowing men to get away with abusive behavior,” and, she adds, “Having women in the pulpit would probably change things.” Moore is opposed to allowing women in the pulpit. Yet that may not be enough to keep Moore and his ERLC safe from the ultra right-wingers.

The SBC’s “conservative resurgence” was essentially an authoritarian coup. Indeed, since the 1980s authoritarianism has arguably become a defining feature of white American evangelicalism. Since authoritarianism is characterized by a paranoid need to identify both internal and external enemies, the vicious trajectory of an empowered authoritarian movement rarely if ever stops after a single round of purges. Meanwhile, the ends justify the means for the zealous adherents to a particular authoritarian ideal, who protect their reputations and that of the organizations they represent above those who inevitably fall victim to abuse in authoritarian environments.

Despite holding some inherently inhumane positions, Russell Moore has attempted to be a humane person in his leadership role in the SBC. If he is purged, this will be another clear indication that humaneness toward members of othered groups, and those on the lower rungs of the Christian Right’s preferred social hierarchy, is utterly unwelcome in today’s American evangelicalism.
Mike Pence’s secret Christian empire is now in charge of public health

March 9, 2020 By Heather Digby Parton, Salon - Commentary


If you’ve been following the latest news on the coronavirus outbreak, you probably saw at least some snippets of President Trump’s visit to the CDC last Friday. It will stand as one of the most astonishing appearances by this or any other president — and that’s saying something. When asked if he regretted firing the entire staff of the Office of Pandemic Preparation, Trump said, “This is something that you can never really think is going to happen.” He said that everyone who wants to be tested for this virus can get tested, which is not even close to true. He called Gov. Jay Inslee of Washington state, who is on the front lines dealing with this epidemic, a “snake.”He made it clear that he wants to cook the numbers so it doesn’t look as if the nation is in the midst of an epidemic. This has been obvious from the outset, but for the president to come out and say it is something else again:

"I like the numbers being where they are. I don't need to have the numbers double because of one ship" — Trump explains that he doesn't want to let people off the Grand Princess cruise ship because he doesn't want the number of coronavirus cases in the country to go up pic.twitter.com/ELhZDjiZW9
— Aaron Rupar (@atrupar) March 6, 2020

Mostly, however, he patted himself on the back:

You know, my uncle was a great person. He was at MIT. He taught at MIT for, I think, like a record number of years. He was a great super genius. Dr. John Trump. I like this stuff. I really get it. People are surprised that I understand it. Every one of these doctors said, “How do you know so much about this?” Maybe I have a natural ability. Maybe I should have done that instead of running for President.

As Wired science reporter Adam Rogers wrote

As a reporter, in general I’m not supposed to say something like this, but: The president’s statements to the press were terrifying. That press availability was a repudiation of good science and good crisis management from inside one of the world’s most respected scientific institutions.

Let’s put that another way: The CDC was considered one of the world’s most respected scientific institutions. It has not been covering itself in glory during this crisis.

The most unnerving aspect of the government response so far has not been Trump’s gibberish. He’s in over his head and it shows, as usual. And we know from his response to Hurricane Maria and other natural disasters that his only concern in a crisis is for his own political well-being. But I wouldn’t have expected to hear the director of the CDC, Robert Redfield, laud Trump like a Fox News pundit

"First I want to thank you, for your decisive leadership … I also want to thank you for coming here today … I think that's the most important thing I want to say" –CDC Director Redfield slathers Dear Leader-style praise on Trump during his tour of CDC headquarters pic.twitter.com/erxQxbYh1x
— Aaron Rupar (@atrupar) March 6, 2020

It’s a full-blown ritual at this point for members of the Trump cabinet and Republicans in Congress to genuflect to the president as if he were a 15th-century pope. And we know that public health experts have had to tread very softly in order not to upset him.

Still, it was surprising to hear such a slavering tribute from a scientist in the midst of a global health crisis. Likewise, it was strange to hear the highly esteemed U.S. global AIDS coordinator, Dr. Deborah Birx, make similar comments when she was introduced as part of the coronavirus task force back on March 2:

It is clear the early work of the president over travel restrictions and the ability quarantine has bought us the time and space to have this task force be very effective. I have never worked with such incredible scientists and thoughtful policy leaders

It seemed just a bit over the top. But these two weren’t the only ones:

Here's Surgeon General Jerome Adams telling Jake Tapper that President Trump "sleeps less than I do and he's healthier than what I am."
pic.twitter.com/bDpQWWAgUU

— Aaron Rupar (@atrupar) March 8, 2020


There’s something important happening under the surface here. It may not simply be that these health policy professionals are trying to keep the kooky president happy so they can do their work on behalf of the country. They may be Trump true believers.

U.S. Surgeon General Jerome Adams, for instance, is a Mike Pence crony who previously served as the Indiana state health commissioner. He was intimately involved in the horrific HIV outbreak in that state, where Pence refused to authorize a needle exchange program until a number of people had died unnecessarily. Naturally, Trump appointed him surgeon general.

Redfield and Birx are both evangelical Christians who have been associated with HIV research for many years, going back to the 1980s. Birx runs PEPFAR, George W. Bush’s global AIDS initiative, and both she and Redfield have been involved with Children’s AIDS Fund International, which lobbies for abstinence-only sex education around the world.

The Washington Post reported back in 2018 that they belong to a network run by an important power broker in the evangelical world:

Evangelical activist Shepherd Smith has spent more than three decades cultivating relationships with leading AIDS researchers and policymakers to promote abstinence-only sex education and other programs. Those connections now could influence government programs and funding within the Trump administration. Among the most prominent: Robert Redfield, director of the Centers for Disease Control and Prevention…

[His wife] Anita Smith is now a consultant within PEPFAR to Deborah Birx, a physician and ambassador at large who oversees the program’s estimated $5 billion annual budget. Birx is also a former board member of Children’s AIDS Fund International and served until she was hired by the CDC in 2005, a PEPFAR spokesman said.

Anita Smith was hired by Birx to “improve prevention programs aimed at preteen girls.” I’m pretty sure we know what she recommended.

Redfield and Birx both served in the military doing AIDS research in the mid-1980s. Redfield is well-known for recommending measures that were considered extreme even within the Reagan administration, including the forced quarantine of AIDS patients. He later had a financial interest in an HIV vaccine that didn’t work, but which he continued to push. Birx, on the other hand, has maintained a stellar reputation.

To be clear, none of this means that these people aren’t qualified for the jobs they hold. They both have medical degrees and relevant experience. But they seem to be part of a conservative subculture of evangelical Christians who have found a foothold in the Trump administration clustered around Mike Pence’s office. Along millions of other evangelicals, it appears they really believe in Donald Trump.

Setting ideology aside, however, what Trump wants these people to do — cover up his own ignorance and incompetence — is totally at odds with what they must know is best for the health of the American public. Is their worshipful admiration for this man blinding them to the need to communicate honestly with the American people about this crisis? Because that would explain a lot
3 human traffickers sentenced to 125 years in death of Syrian boy
THE FAMILY WERE TRYING TO COME TO CANADA UNDER
THE HARPER CONSERVATIVE GOVERNMENT

CBS News•March 14, 2020


Three people believed to be organizers of a human trafficking ring were sentenced Friday in a Turkish court to 125 years each in prison for the death of Syrian toddler Aylan Kurdi, Turkish state media reported. The lifeless body of three-year-old Aylan lying on a beach in Turkey was captured in a photograph that became a symbol of the 2015 Syrian refugee crisis.

The Bodrum High Criminal Court in Mugla sentenced the defendants for the crime of "killing with eventual intent."

The traffickers, fugitives from justice, had been captured by Turkish security forces this week in the southern province of Adana, according to state news agency Andalou.

A number of Syrian and Turkish defendants were found responsible for the accident and were sentenced to prison time. The three defendants sentenced had fled trial, Andalou reported.

Aylan was one of 14 Syrian refugees, including eight children, who took a boat that sank in the Aegean Sea while en route to Greek islands. Aylan's brother Galip, 5, and mother Rihan, 35, also died. His father, Abdullah, survived.

"The waves were so high, and the captain panicked and jumped into the sea," Abdullah said. "I took my wife and children in my arms, but they were all dead."

The family was fleeing the Syrian town of Kobani, which was decimated when ISIS tried to seize it, leaving nearly everyone there homeless.

KOBANI WAS KURDISH TERRITORY ATTACKED BY TURKEY AND SYRIAN FORCES



Trump flicked a Google statement onto the floor during a live press conference in an apparent rebuke of a botched coronavirus website rollout

Business Insider•March 15, 2020
President Donald Trump lets go of a piece of paper containing a Google statement, during a press conference at the White House, March 15, 2020.

The White House


President Donald Trump bemoaned the news coverage about the confusion behind his unveiling of what was purportedly a Google-led effort to develop a coronavirus-screening website.


Trump held in his hand what appeared to be a Google statement, in tweet form, that he claimed vindicated his prior remarks.


"As you know this is from Google, they put out a release," Trump said, holding the statement in his left hand before flicking it to the ground.


"You guys can figure it out yourselves, and how that got out," Trump added. "I'm sure you'll apologize. It'll be great if we can really give the news correctly.

President Donald Trump on Sunday afternoon bemoaned the news coverage about the confusion behind his unveiling of what was purportedly a Google-led effort to develop a nationwide website that screened people for the coronavirus.

"I want to thank the people at Google and Google Communications, because as you know, they substantiated what I said on Friday," Trump said of the remarks he made in the Rose Garden just two days prior.

"The head of Google ... called us and he apologized, I don't know where the press got their fake news, but they got it some place," Trump added.
trump before

Trump held in his hand what appeared to be a Google statement in tweet form on how the company was partnering with the federal government to develop "a nationwide website that includes information about COVID-19 symptoms, risk and testing information."

"As you know this is from Google, they put out a release," Trump said, holding the statement in his left hnd. He then flicked the paper onto the floor.

—David Choi (@choibboy) March 15, 2020

"You guys can figure it out yourselves, and how that got out," Trump added. "I'm sure you'll apologize. It'll be great if we can really give the news correctly.

On Friday, Trump claimed that Google had 1,700 engineers working on a coronavirus-related website, one that would allow people to "to determine if a test is warranted and to facilitate testing at a nearby convenient location."

"Google is going to develop a website — it's going to be very quickly done, unlike websites of the past," Trump said on Friday.

The project, however, was being developed by Alphabet-affiliated Verily, which reportedly employs 1,000 employees. The Verge reported that the 1,700 engineers Trump mentioned were Google workers who would volunteer for the project.

Despite Trump's statement that it had made "tremendous progress" in the nationwide effort, a Google communications representative told The Verge that the company was still "in the early stages of development" for the San Francisco area.

A Verily representative reportedly added that the "triage website" was initially expected to go out for health care workers and that after the announcement, it was going to roll out to the entire public.

Google later announced in its statement that the company was "fully aligned" and would "continue to work" with the government to combat the coronavirus.

Trump followed up his press conference by retweeting a statement from Google Communications, which laid out that the company's goals to expand the project "more broadly over time."

—Google Communications (@Google_Comms) March 13, 2020

President Trump railed against news reports that shed light on his comments on Sunday, alleging that the media "never called Google" to verify his distinct description of the project.

"Even in times such as these, they are not truthful," Trump said on Twitter. "Watch for their apology, it won't happen. More importantly, thank you to Google!"

---30---

Sunday, March 15, 2020

Gasoline becomes more affordable, just when Americans don't need it

JUST LIKE TAX CUTS FOR THE RICH THIS HEADLINE SUMS UP THE TRUMP ERA


SANDERS VS HUBRIS

When Sanders launched his campaign in February 2019, he was asked what would be different this time. “We’re gonna win,” Sanders replied, with the blunt assurance that thrills so many of his supporters.
By his own admission, he is falling short of that goal. As Sanders fights for the future of his candidacy, there is also the sense that he has already accomplished more than he could have imagined in his nearly 50-year political career.
<span class="element-image__caption">Sanders speaks during a rally in St Louis, Missouri, last week.</span> <span class="element-image__credit">Photograph: Lucas Jackson/Reuters</span>
Sanders speaks during a rally in St Louis, Missouri, last week. Photograph: Lucas Jackson/Reuters

Michael Kazin, a historian and co-editor of Dissent magazine, said Sanders has already achieved what many nominees and presidents never do: he has fundamentally shifted the ideology of the Democratic party on everything from healthcare and climate change to raising the minimum wage and taxing the rich. Sanders, Kazin said, was likely the “most leftwing candidate” to make it this far in American political history.
That a 78-year-old democratic socialist has come within striking distance of the nomination is an “astounding success” in its own right, marveled Bill Press, a progressive talkshow host who helped launch Sanders 2016 campaign from the living room of his Washington home.
“In a very real sense,” he said, “Bernie has already won the primary.”


READ THE WHOLE ARTICLE HERE 

. The first thing Sanders would do? 'Shut this president up right now.'

The Hunt depicts elites hunting the poor for sport. The 'satire' feels a little too real


That the film coincides with a pandemic which will kill the uninsured, sick and elderly is just another layer of discomfort


Jessa Crispin THE GUARDIAN Sun 15 Mar 2020

‘If you don’t find it funny to watch a woman impaled on spikes or a man blown up on a landmine, you must be one of those humorless cancel culture freaks who need to learn to take a joke.’ Photograph: Universal

My entertainment options this week were a movie in which “liberal elites” hunt down and murder “deplorables” for sport – deaths that are ultra gory and played for laughs – and a Hulu documentary in which Hillary Clinton explains with a chuckle and a smile why the policies supported by her 2016 opponent, Bernie Sanders – policies like universal healthcare and prison reform, which would help countless Americans – are just not “doable”. In other words, essentially the same thing.

The Hunt was supposed to be released last fall, but it was put on hold after some people wondered if a movie about political polarity and divisiveness in contemporary society, in which a bunch of poor people die violently was really going to be a good idea. Released now, the controversy is its main selling point. And – since we are in the beginning stages of a pandemic for which the United States is not remotely prepared and in which the uninsured, elderly, and poor are much more likely to die – well, let’s just say the timing creates a certain tone.


The co-writer and producer Damon Lindelof – who recently read the legendary anti-fascist comic Watchmen and thought, huh, okay, but what if instead we made the cops the heroes? – has created a world where a group of rich, NPR-listening liberals, who bicker about gendered language and whether “black” or “African-American” is the more acceptable term, drug, abduct, and murder Trump voters for sport. One of the Trump voters actually isn’t a Trump voter but is brought there by mistake, and not being a redneck hillbilly idiot, she manages to fight back. I think that’s a metaphor. For something.

Ultimately the film wants to pretend to be a commentary on cancel culture and our new culture wars. It turns out the whole plan for liberal elites to hunt deplorables becomes a reality because deplorables can’t take a joke about liberal elites hunting deplorables. The slapstick deaths are supposed to indicate that hey, we’re just playing around here, rather than show a callous disregard for human life on the part of the film-makers. And if you don’t find it funny to watch a woman impaled on spikes or a man blown up on a landmine or a woman choking to death after she’s poisoned, you must be one of those humorless cancel culture freaks who need to learn to take a joke.


But of course if you’re from and of the coasts it’s easy to believe these new culture wars are just about a difference of opinion about gun control or abortion and not about the hopelessness and loss of meaning and instability causing the deaths of despair killing white middle Americans without college degrees through suicide and addiction. It’s similar to how one segment of the population will remember the culture wars of the 1990s as a discussion about whether a crucifix of Jesus Christ submerged in urine should be considered art, and not about whether the thousands of gay people, IV drug users, hemophiliacs, and others deemed ultimately disposable by the government and society should have been allowed to die from Aids. Or as a debate about whether children should be exposed to vulgarity in music, and not about whether black people or people in poor neighborhoods should be murdered, brutalized, and harassed by the police forces that claim to protect them.

It’s not clear that anyone involved with this film has ever even been to the south. The star, Betty Gilpin, plays a working-class woman named Crystal who spends the entirety of the film holding her jaw as if she is trying not to let any spit from the chewing tobacco dribble out, and yet at no time does she partake in chewing tobacco. It’s like she saw a picture of someone once and thought, Oh, that must be how they do it down there, but no one explained to her it’s not just that all southerners have a severe underbite. But then no one involved in the production thought it might be weird for the action of the film to play out in Croatia, a country still dealing with the aftermath of its own … uh, let’s call it political polarity and divisiveness, I guess.

I’m sure the millionaires who endorsed billionaire Mike Bloomberg in the Democratic primaries will watch this movie on their private jets and have a good chuckle at the depiction of clueless and out-of-touch elites heading to Croatia on their private plane with a cargo full of white trash. “Oh my God, that’s so us! I also enjoy a little caviar snack while on my way to my private manor in the Balkans.” And then they’ll go back to deciding which underprivileged group should receive their charity this month – instead of just paying their taxes, which could fund an adequate public healthcare system that would keep people from having to beg online to afford chemotherapy.

Cinemas across the US are currently closing because of coronavirus; perhaps only the elites who can afford private screenings of The Hunt in their palatial estates will be able to see it. In the meantime, the rest of us are about to go on quarantine lockdown, forced to sustain ourselves on whatever mediocre bilge Netflix has put out this week. I think that’s a metaphor. For something.

Jessa Crispin is the host of the Public Intellectual podcast. She is a Guardian US columnist

'It's a fun movie, I promise': behind the elites v 'deplorables' thriller The Hunt
The director of the controversial film about liberals hunting Trump voters talks intention, assumptions and how it feels when the president tweets about you




Benjamin Lee Thu 12 Mar 2020
 
Betty Gilpin in The Hunt. Photograph: Patti Perret/AP


“Icertainly didn’t make the movie to try and gin up controversy,” said Craig Zobel, director of the most controversial movie of not only this year but last year as well, a potato so hot that it was briefly deemed untouchable. The Hunt, a schlocky thriller that also happens to be a broad satire on political extremism in the US, was originally scheduled for release last September, but after the Dayton and El Paso shootings the month before, it faced an uncertain future.

The plot imagines a Hunger Games-style playground where liberal elites hunt “deplorables”, AKA Trump voters, in a variety of gruesome ways. Initially, the film’s marketing campaign were paused out of respect (even a satirical use of such heavy artillery was not deemed appropriate at the time) but matters worsened when details about the film’s red state v blue state setup started to disseminate and rightwing anger travelled all the way from Fox News to the White House. Trump didn’t name the movie specifically but in a tweet on 9 August, he called Hollywood “racist”, “really terrible” and said some of the films being released are “very dangerous for this country”. On 10 August, The Hunt was taken off the schedule.

For a time, there were questions over whether we would ever get to see The Hunt, at least on a big screen, with rumours that Universal might consider selling it to an online streamer. But with a tweaked marketing campaign, one that now revels in its toxic infamy, it re-emerged earlier this year and now, finally, it’s being unleashed on the public.

“It’s been a long road,” Zobel said to me on the phone from Los Angeles, sounding understandably wearied. “You make a movie hoping that people get to see it and now people finally do and I think I’m just excited to hear people’s responses.”

The Hunt began with Lost co-creator Damon Lindelof and his Leftovers co-writer Nick Cuse crafting a devilish way to update Richard Connell’s 1924 short story The Most Dangerous Game, centred on a brutal human hunt, for an increasingly fractured America. Zobel, whose big-screen credits had included grim fact-based fast-food drama Compliance and post-apocalyptic saga Z for Zachariah, had also directed a number of episodes of The Leftovers and was immediately drawn to the idea.

He had just moved from the liberal safe haven of New York City to Athens, a smaller city in Georgia, a state that voted for Trump in 2016. “I realised I was making assumptions about these people that lived around me,” he said. It led him to crave something that would both explore and poke fun at the ideas that we have of those on the opposing side so it was kismet when the script came his way. “We found out that we had all been individually thinking about this stuff and that it was the perfect time for us to tell this story,” he said.

For a while, the stars seemed to align. Blumhouse, the hit-making company behind Get Out and Paranormal Activity, jumped onboard, as did Universal and a cast including two-time Oscar winner Hilary Swank, Glow breakout Betty Gilpin and Ryan Murphy. Emma Roberts quickly signed on. But then things went sour and a Friday night B-movie suddenly became the subject of noxious debate, referred to as “demented”, “evil” and “dangerous”. Before anyone had even seen it. 

Hilary Swank in The Hunt. Photograph: Patti Perret/AP

“It felt bizarre because the film was supposed to be an absurd satire and was not supposed to be serious and boring and I felt that the conversation immediately got serious and boring,” Zobel said. “I was just the person, over in the corner, maintaining ‘It’s a fun movie, I promise! I just want people to see it!’ because it’s a film that’s essentially about the assumptions you make about something without really knowing anything about it.”

Making an assumption about something without really knowing anything about it has become a signature move for the US president although nothing could have prepared Zobel for the surreal moment of seeing your film tweet-dragged by one of the most powerful men in the world.

“I was in the very last days of sound mixing the movie,” Zobel recalled. “I got a text from Ike Barinholtz, one of the actors [in The Hunt], who said I think that the president of the United States just tweeted about our movie. I had to go looking for what he was talking about and pretty quickly just ended up standing outside the soundstage for the rest of the day trying to process and kind of parse what was going on and it was unique. The day that the president tweets something about you or a movie that you made is just a very weird day, it really is.”

The ire aimed at Zobel, death threats included, was predicated on the idea that the film was somehow celebrating the leftists who take bloody revenge on rednecks but, if anything, it works hard at doing the opposite. Zobel sees it as a “fun refuge” rather than an angry dissection of where we are right now. The difficult journey it’s had to reach an audience has found its happy ending with a wide release but it also serves as a warning of how easily film-makers can get silenced in a culture keen to cancel.
Betty Gilpin in The Hunt. Photograph: Patti Perret/AP

“It isn’t a healthy world, one where everyone is trying to decide whether or not they should make something based on how it’ll be received politically,” Zobel said. “I certainly wouldn’t advocate for that and I don’t think like that, even after this. “I believe that people who have things to say will continue to really have things to say.”

We spoke a week before the reviews came out, which were mixed at best (the Guardian’s Adrian Horton called it “a boilerplate B-movie that doesn’t say nearly as much as it thinks it does”), telling a cautionary tale of the dangers of hype. The film that Zobel saw as “playful and fun” had mutated into something with far more to carry on its shoulders. Ultimately, what The Hunt works best as is an action thriller which I told him would please at least one potential audience member, notorious for skipping past dialogue to watch the explosions.

“I think the president might like the movie,” Zobel agreed. “I’m proud of the action scenes in the movie. If he wants to just watch the action scenes, I’m fine with that!”


The Hunt is out now
Black Sky Thinking

Does My Black Sun Look Big In This? Skullflower’s Patterns Of Predjudice
Dylan Miller , February 11th, 2019 08:59

Late last week, veteran noise act Skullflower were dropped from the line up of Raw Power festival - yet for most of their lengthy career they have been considered apolitical. Here Dylan Miller considers the jigsaw of evidence against Matthew Bower and asks, 'What changed?'
“We offer an invocation to, and an evocation of the hidden, averse, heathen powers that seethe within our native soil. Come leave your timid gelded civilised masks, bow down and rise up, reborn, within our whirlwind.”
Skullflower mission statement, July 2013
Last week – on a day that saw news reports of innocent British people being torn from their families and deported to Jamaica as part of Theresa May’s “hostile environment” and a three-fold rise in antisemitic crimes in the UK – London’s Raw Power, the noise-orientated music festival programmed by Baba Yaga’s Hut, made the unusual decision to drop veteran act Skullflower from its bill. In a brief statement they wrote that Matthew Bower, Skullflower’s core member, “appears to have taken part in some questionable actions & has some public-facing associations that do not line up with how we feel at Raw Power.”
Matthew Bower has been a constant presence on the noise scene for decades, appearing, for example, in 1983 as one half of Pure, sharing a bill with Derek Jarman, Coil and Ceryth Wyn Evans at Brixton’s Ritzy Cinema. Until the accusations against Bower surfaced, the racist wink implicit in Pure’s name could be dismissed as the sort of provocative trolling endemic to the young noise scene of the time, when schoolboy Philip Best (Consumer Electronics/Whitehouse) released his infamous White Power cassette, and two volumes of Oswald Moseley speeches, on his Iphar cassette label (we’ll have more on this period in a future piece).
Skullflower emerged as a full band with their Birthdeath EP in 1988, since when, according to Discogs, they have racked up 39 albums of searing, hellish, ecstatic racket, that have, rightly, earned Bower no little respect as an uncompromising, dedicated noise artist.
Interviews with Bower have appeared in pretty much every magazine covering experimental music, including this one, and as far as we are aware, he hasn’t used any of them to espouse controversial political viewpoints. Bower has always presented himself, and his bands, as cultural irritants, and has had a reputation as an unapologetically spiky character, yet politics have never been central to Skullflower’s musical vision, any hints at meaning coming from track and album titles, which are often elaborate and evocative but seemingly devoid of political content.
So what’s happened?
Bower’s acerbic personality has, unsurprisingly, led to many fallings out over the years, and rumours of a deeper darkness beyond the wall of noise. The idea that any musicians, of any genre, are obliged to be nice people is obviously absurd – some people are arseholes, and some of them happen to be musicians, we can live with that. But bringing arseholes and the Internet together can have explosive results, and online Bower has scattered fragments of a persona that, when pieced together, create a depressingly familiar picture.
The Skullflower blog, begun in 2011, is a repository for Bower’s musings and photographs. Collectively they reflect a mind deeply immersed in art, witchcraft, music and animal husbandry. In one domestic image, posted in 2016, nestled amongst a display of animals, talismans, artworks and artefacts, is a print of the most iconic image of esoteric neo-Nazism – the black sun. The symbol, twelve sig (SS) runes in a spoked wheel, first appeared as a floor decoration at Heinrich Himmler’s SS fortress at Wewelsburg in the late 1930s. According to historian of esoteric Nazism Nicholas Goodrick Clarke, Himmler regarded the castle as “the magical omphalos, marking the centre of the Germanic world, and planned ultimately to develop the whole site as an SS Vatican of Aryan spirituality.” The Black Sun then, sat at the initiatic centrepoint of the of the Nazis’ mythic empire.
Since the early 1990s neo-Nazis have viewed Himmler’s sunwheel as a representation of the Black Sun, a symbol of Thule, the dream of Europa, “an alternative world in total opposition to a multiracial Europe” (Goodrick-Clarke). The symbol serves as not-so-secret handshake amongst occult-leaning neo-Nazis, many of whom view Hitler as an avatar of more-than-human energies. Unlike the swastika, a symbol that predates the Nazi party by millennia, and continues to have an existence beyond that corrupting appropriation, Himmler's Black Sun has no meaning outside of its role as a neo-Nazi dream catcher – you’ll see it on flags at neo-Nazi rallies, in Sonnenkrieg Division‘s race-hate memes, and tucked away on cryptonazi-edgleord album covers. This author once saw one on a sticker in a hip East London pub.
The Black Sun as featured in poster for neo-nazi group Sonnenkrieg
So Bower has a Black Sun on his wall at home. OK. It’s a charged symbol of the mythic darkness that Skullflower have made a career of exploring – he also named a spin off project Black Sun Roof. Nice one.
Alone this fact doesn’t make him a Nazi, crypto or otherwise. Nor do pictures of a model kit of a WWII panzer tank crew soldiers out haring with their dogs. Nor, necessarily, do recent track titles, 'Ayran Wolf' (2017), or 'Stormfront' (2016), with its accompanying text: “Winter is a brutal gardener, despoiling summers finery to rot where it falls. We too, need a weeding out, a culling, a gardener.” Stormfront also happens to be the largest online message board for “White Power, World Wide… the voice of the new, embattled White minority.” (italics sic) Haha, provocative japes surely?!
Elsewhere on the blog, it becomes clearer that Bower’s politics are right of centre. He is anti-EU, he claims, in a post celebrating the 2016 Brexit referendum vote, “exiting a hated union”. That’s also OK, lots of men in their mid-50s voted to leave Europe in Summer 2016, many of them also musicians. In a November 2016 comment on this web site, beneath a review of an Andrew Marr TV interview with French National Rally (formerly National Front) leader Marine Le Pen, Bower, or someone purporting to be Bower, wrote: “Vive marine and vive la france!... keep whinin’ liberals”. “Matthew Bower” also put in a dig at comedian Stewart Lee, known for his love of noise music – “oh and that douchebag Stewart Lee; burn yr skullflower records, thems naszty. mb.” Is the extra ‘z’ in nasty also a troll’s wink? (All comments have since been erased from tQ.)
So Bower (or someone using his name) aligns himself with the French National Front, OK that’s pretty extreme, but they’re almost a mainstream party in France; and anyway, why do we noiseniks expect the music we like to be made by progressive liberals, whinin’ or otherwise?
But there’s another clue, for those who might recognise it, buried in his Brexit blogpost: “We are for Europa, anti E.U.” Like the Black Sun, Europa is another piece of twilight language, code amongst ‘Traditionalists’–  essentially elitist cryptofacists – for Europe as it used to be, a white, pagan Europe of distinct nation-states, feudally-governed and divided upon “ancient” ethnic and cultural lines. A lost Europe that lies in our future, one in which the great mistakes of the past – the capitulation of the Third Reich, the loss of our colonies and the ensuing disasters of multiculturalism – can be unmade. It reflects, to quote Josef Klumb of martial-industrial cryptofascists Von Thronstahl, "the idea of the REICH for Europe, or Europa, as I’d prefer to call it."
This ideal of Europe – or Europa – is the dream at the heart of the neo-folk musical movement, which emerged in parallel to the noise scene that Bower has inhabited for so long, and often involved the same people. It’s no surprise then, to find him linking arms with Austrian cryptofascist band Der Blutharsch – whose logo has incorporated the Iron Cross and Sig-runes and whose WKN label released music by Skullflower (2016) and Italian fascist group Casa Pound’s house-band Zetazeroalfa (2003) – and English folk musician and jodhpur-sporting Traditionalist Andrew King, who Bower gigged with at London's Café OTO in 2015. [Fielding Hope of Café OTO has since informed us that King’s appearance was kept secret from the venue, Ed]
In 2016, at the time of Bower’s Europa comments, Skullflower outraged many in the Leeds musical community by performing with veteran Finnish nihilist agit-noise group Bizarre Uproar, aka Parsi Markkula, who told the Plaguehaus zine in 2010: “I like discord, chaos, tension between races… XE [xenophobic ejaculation, another Markkula solo noise project] is about racial issues, KKK hanging black trash, whites humiliating black whores, steel cap execution, White Power, 3rd Reich – glorious REICH, concentration camps, racial hygiene, white supremacy, xenophobic hate, black whores eating excrement.” [Temple Of Boom, the Leeds venue, has since informed us that they were unaware of the nature of the groups playing at the time and banned the promoter and all of the artists involved once they were made aware, Ed]
OK have you had enough now? Hopefully you are beginning to see the picture. Accepting that a band you’ve enjoyed for many years is the work of a right-leaning cultural irritant prone to acts of long outmoded, privileged provocation is one thing – accepting that they have collaborated with, and espoused the views of, elitist cryptofascists and death camp celebrants is another.
Yes, Bower has spent a career exploring the abyss, but at some point he also became the abyss. And in our fucked up, fracturing and fractious world that abyss is no longer an obsidian edge ready to expose the hypocrisies of the mainstream – it is the mainstream, and it has engulfed us. This is why we, Raw Power and others have finally drawn a line in the sand – you are either with the people who seek to inflame hatred and division, or you are against them. We are against them.
So that’s why Bower isn’t playing Raw Power.
A small handful of people might be angry and dismiss the promoters as snowflakes bowing to political correctness – let them, and let Baba Yaga’s Hut, and their partners at Corsica Studios, continue to advocate for optimism, diversity and a progressive future.
Bower has yet to respond to his removal from Raw Power. His last blog post simply reproduced the festival’s email to him without comment.
The post before that, dated 12 January, is a tarot reading, entitled “now the die is shaken, now the die must fall”, and shows the Death card, 13, from the Smith-Rider-Waite deck superimposed with ehwaz, the “horse” rune. The Death card, seen here riding upon a white horse and sporting a white rose flag (perhaps a Yorkshire rose?), is usually interpreted to mean that a transformation is coming, perhaps a difficult one. Ehwaz is, also appropriately, associated with communication and collaboration.
Whether something has happened to ‘radicalise’ Bower, or whether he has always been this way, only those who know him can say. But whatever he does next, Skullflower will no doubt survive. They may lose some of their audience, they may well gain a new one. Certainly they have a welcoming home on the Cold Spring label, where martial edgelords, cryptofascists and their apologists rub shoulders with noise and industrial artists too physically or psychically dead to care anymore.
Is Matthew Bower a neo-Nazi, a fascist, or a white nationalist? We doubt that he would ever identify explicitly with any of these positions. Should you stop listening to Bower’s music, or buying his albums? That’s not up to us – who you support with your money is your decision alone.
We shall have to wait and see what happens next. Bower’s psyche seems to be in a constant state of flux, and we strongly believe that people can change, for the better, as well as for the worse.
All we know is that Skullflower’s veil of mystique has dropped, revealing another lost and angry white man, looking for Europa.
We invite Matthew Bower to respond to this article