The Most Dangerous Creature on the Planet | Part 10: Marvelization of Man

We are ploughing ahead in this series. If you want to understand why this series is call the Marvelization of Man, then skip back to blog 1: here.

Long story short, if there are going to be Marvelous Men, there are also going to be ordinary men, awful men, and god awful terrible men. And this is what we are really exploring, the underside of Marvelous.

So, here we go, taking a deep dive into the workings of the most disgusting, vile, horrid creatures to be found on planet Earth: The Totalitarian Leader!

What follows is from Joost Meerloo’s book, Rape of the Mind, published in 1956. To read more about Joost, backtrack to this blog, here.

The Totalitarian Leader

— Page 79, Rape of the Mind by Joost Meerloo

The leaders of Totalitaria are the strangest men in the state. These men are, like all other men, unique in their mental structure, and consequently we cannot make any blanket psychiatric diagnosis of the mental illness which motivates their behaviour.
But we can make some generalizations which will help us toward some understanding of the totalitarian leader. Obviously, for example, he suffers from an overwhelming need to control other human beings and to exert unlimited power, and this in itself is a psychological aberration, often rooted in deep-seated feelings of anxiety, humiliation, and inferiority. The ideologies such men propound are only used as tactical and strategical devices through which they hope to reach their final goal of complete domination over other men. This domination may help them compensate for pathological fears and feelings of unworthiness, as we can conclude from the psychological study of some modern dictators.
Fortunately, we do not have to rely on a purely hypothetical picture of the psychopathology of the totalitarian dictator. Dr. G. M. Gilbert, who studied some of the leaders of Nazi Germany during the Nuremberg trials, has given us a useful insight into their twisted minds, useful especially because it reveals to us something about the mutual interaction between the totalitarian leader and those who want to be led by him.
Hitler's suicide made a clinical investigation of his character structure impossible, but Dr. Gilbert heard many eyewitness reports of Hitler's behaviour from his friends and collaborators, and these present a fantastic picture of Nazism's prime mover. Hitler was known among his intimates as the carpet-eater, because he often threw himself on the floor in a kicking and screaming fit like an epileptic rage. From such reports, Dr. Gilbert was able to deduce something about the roots of the pathological behaviour displayed by this morbid "genius."
Hitler's paranoid hostility against the Jew was partly related to his unresolved parental conflicts; the Jews probably symbolized for him the hated drunken father who mistreated Hitler and his mother when the future Fuhrer was still a child. Hitler's obsessive thinking, his furious fanaticism, his insistence on maintaining the purity of "Aryan blood," and his ultimate mania to destroy himself and the world were obviously the results of a sick psyche.
As early as 1923, nearly ten years before he seized power, Hitler was convinced that he would one day rule the world, and he spent time designing monuments of victory, eternalizing his glory, to be erected all over the European continent when the day of victory arrived. This delusional preoccupation continued until the end of his life; in the midst of the war he created, which led him to defeat and death, Hitler continued revising and improving his architectural plans.
Nazi dictator Number Two, Hermann Goering, who committed suicide to escape the hangman, had a different psychological structure. His pathologically aggressive drivers were encouraged by the archaic military tradition of the German Junker class, to which his family belonged. From early childhood he had been compulsively and overtly aggressive. He was an autocratic and a corrupt cynic, grasping the Nazi-created opportunity to achieve purely personal gain. His contempt for the "common people" was unbounded; this was a man who had literally no sense of moral values.
Quite different again was Rudolf Hess, the man of passive yet fanatical doglike devotion, living, as it were, by proxy through the mind of his Fuhrer. His inner mental weakness made it easier for him to live through means of a proxy than through his own personality, and drove him to become the shadow of a seemingly strong man, from whom he could borrow strength. The Nazi ideology have this frustrated boy the illusion of blood identification with the glorious German race. After his wild flight to England, Hess showed obvious psychotic traits; his delusions of persecution, hysterical attacks, and periods of amnesia are among the well-known clinical symptoms of schizophrenia.
Still another type was Hans Frank, the devil's advocate, the prototype of the overambitious latent homosexual, easily seduced into political adventure, even when this was in conflict with the remnants of his conscience. For unlike Goering, Frank was capable of distinguishing between right and wrong.
Dr. Gilbert also tells us something about General Wilhelm Keitel, Hitler's Chief of Staff, who became the submissive, automatic mouthpiece of the Fuhrer, mixing military honor and personal ambition in the service of his own unimportance.
Of a different quality is the S.S. Colonel, Hoess, the murderer of millions in the concentration camp of Auschwitz. A pathological character structure is obvious in this case. All his life, Hoess had been a lonely, withdrawn, schizoid personality, without any conscience, wallowing in his own hostile and destructive fantasies. Alone and bereft of human attachments, he was intuitively sought out by Himmler for this most savage of all the Nazi jobs. He was a useful instrument for the committing of the most bestial deeds.
Unfortunately, we have no clear psychiatric picture yet of the Russian dictator Stalin. There have been several reports that during the last years of his life he had a tremendous persecution phobia and lived in constant terror that he would become the victim of his own purges.
Psychological analysis of these men shows clearly that a pathological culture -- a mad world - can be built by certain impressive psychoneurotic types. The venal political figures need not even comprehend the social and political consequences of their behaviour. They are compelled not by ideological belief, no matter how much they may rationalize to convince themselves they are, but by the distortions of their own personalities. They are not motivated by their advertised urge to serve their country or mankind, but rather by an overwhelming need and compulsion to satisfy the cravings of their own pathological character structures.
The ideologies they spout are not real goals; they are the cynical devices by which these sick men hope to achieve some personal sense of worth and power. Subtle inner lies seduce them into going from bad to worse. Defensive self-deception, arrested insight, evasion of emotional identification with others, degradation of empathy - the mind has many defense mechanisms with which to blind the conscience.
A clear example of this can be seen in the way the Nazi leaders defended themselves through continuous self-justification and exculpation when they were brought before the bar at the Nuremberg trials. These murderers were aggrieved and hurt by the accusations brought against them; they were the very picture of injured innocence.
Any form of leadership, if unchecked by controls, may gradually turn into dictatorship. Being a leader, carrying great power and responsibility for other people's lives, is a monumental test for the human psyche. The weak leader is the man who cannot meet it, who simply abdicates his responsibility. The dictator is the man who replaces the existing standards of justice and morality by more and more private prestige, by more and more power, and eventually isolates himself more and more from the rest of humanity. His suspicion grows, his isolation grows, and the vicious circle leading to a paranoid attitude begins to develop.
The dictator is not only a sick man, he is also a cruel opportunist. He sees no value in any other person and feels no gratitude for any help he may have received. He is suspicious and dishonest and believes that his personal ends justify any means he may use to achieve them. Peculiarly enough, every tyrant still searches for some self-justification. Without such a soothing device for his own conscience, he cannot live.
His attitude toward other people is manipulative; to him, they are merely tools for the advancement of his own interests. He rejects the conception of doubt, of internal contradictions, of man's inborn ambivalence. He denies the psychological fact that man grows to maturity through groping, through trial and error, through the interplay of contrasting feelings. Because he will not permit himself to grope, to learn through trial and error, the dictator can never become a mature person. But whether he acknowledges them or not, he has internal conflicts, he suffers somewhere from internal confusion. These inner "weaknesses" he tries to repress sternly; if they were to come to the surface, they might interfere with the achievement of his goals. Yet, in the attacks of rage his weakening strength is evident.
It is because the dictator is afraid, albeit unconsciously, of his own internal contradictions, that he is afraid of the same internal contradictions of his fellow men. He must purge and purge, terrorize and terrorize in order to still his own raging inner drives. He must kill every doubter, destroy every person who makes a mistake, imprison everyone who cannot be proved to be utterly single-minded. In Totalitaria, the latent aggression and savagery in man are cultivate by the dictator to such a degree that they can explode into mass criminal actions shown by Hitler's persecution of minorities. Ultimately, the country shows a real pathology, an utter dominance of destructive and self-destructive tendencies.

Archetypal Animations

Feature Archetypal Animation

Images: Midjourney

Music: Trump Chill Covers — Maestro Ziikos — [10] Unstoppable – Trump    3:36

First Archetypal Animation

Images — Midjourney

Music: Mountain of Memory (Remixes) — Emancipator: Dodo – ITO Remix    4:49

Second Archetypal Animation

Images — Midjourney

Music: Make America Great Again — Trump The Don — [1] Make America Great Again    2:17

Previous Marvelization of Man Blogs

https://www.sapience2112.com/the-narcissist-part-2-the-marvelization-of-man/
https://www.sapience2112.com/public-opinion-engineers-part-3-the-marvelization-of-man/
https://www.sapience2112.com/super-hero-terror/
https://www.sapience2112.com/indoctrination-barrage-part-5-the-marvelization-of-man/
https://www.sapience2112.com/the-enigma-of-coexistence-part-6-the-marvelization-of-man/
https://www.sapience2112.com/totalitaria/
https://www.sapience2112.com/hate-is-a-habit-part-8-of-the-marvelization-of-man/
https://www.sapience2112.com/creepy-collectivism-part-9-marvelization-of-man/

2024

Happy New Year’s! It’s 2024!!

May 2024 bring wisdom to you and to everyone who you know, especially as you try to make sense of the vast amount of nonsense and evil impacting and influencing our imperfect world, especially this year.

This year, more than any other year, each and every one of us needs to find our inner well of wisdom and drink from it. If we don’t find it… if we don’t replenish our drained and drying reservoirs of wisdom, we are not going to survive as a species on this planet past this century… at least not as we have been surviving in it.

Here and now, in this very moment, more than any transition from one year to the next one, we must be able to tell good from evil, truth from lies, right from wrong. This is the year we choose between life or death for all life on Earth.

This is the year (more than any other year) that each and every living human makes a choice… it is a vote… for what our collective fate will be as the 21st Century stretches ahead of us.

The preceding years have filled all of us with so much worry, so much onus, so much weight, and now we hold so much responsibility for our personal and collective fate.

No longer can we deny to ourselves that our personal choices and lifestyles do not affect other living beings on our beautiful planet. No longer can we choose to stay ignorant about our world, the deadly conflicts spanning the global, the deadly famines and diseases caused by our inability to get along with each other, nor our tremendous failure to cooperate with each other to solve the intractable and wicked problems we have created for ourselves as human beings.

The Choice Is Yours

Today is the day you must choose.

Will you choose life, meaning that you accept responsibility for your thoughts, words, and actions?

OR

Will you choose death, meaning you project your unconsciousness onto others and do not take responsibility for your own inner turmoil, hate, anger, and ignorance… and you don’t educate yourself about yourself and the world that offers you this precious human life?

All life is precious. And all humans matter. And each and everyone of us is making a critical choice this year. A choice of consequence that will have lasting gravity on all of life for the foreseeable future.

This is our moment to shine… or it is our moment to fall like a shooting star burning up in Earth’s atmosphere.

Choose wisely.

Feature Archetypal Animation

Art from Studio in Thomas, West Virginia

Music: World of Sleepers by Carbon Based Lifeforms — Proton Electron    6:52

Super Hero, Terror?! | Part 4: The Marvelization of Man

September 3, 2023

The Marvelization of Man series juxtaposes the marvelous world of Marvel and its universe of Super Heroes against the not so marvelous world of real life human beings. Sometimes the men and women who present themselves as Super Heroes swooping in to protect us turn out instead to be deceiving and manipulating us.

Way too often in our Modern Era the men and women presenting themselves as the Super Heroes saving civilization are hiding behind lies and madman tactics designed to intrigue, confuse and shock us into their mesmerizing realm of thought control.

Recap of The Marvelization of Man Series

My series begins with Marvel origin story of Morbius who as a “living vampire”, which is an archetypal character for real life narcissists. Morbius flopped even though it should have racked in the bucks as discussed in depth in Part 2 of The Marvelization of Man.

Part 3 of The Marvelization of Man dives into how our minds work and why when a conglomerate company like Disney absorbs the universes of Marvel, Star Wars, Predator, and so many others, the movies they spin out can fall into the trap of creating transactional characters who are made to fit into a highly formula movie that is calculated to do one thing: make lots of money.

This results in weak storytelling and weak Super Heroes. Lacking strong Super Hero stories can water down our inner ability to resist mass manipulation of the kind Joost speaks about in his book: The Rape of the Mind, published in 1956. Super Heroes are our modern versions of archetypal stories and when we tell weak archetypal stories, we lack strong models to base the development of our own inner archetypal stories impacting every aspect of our ordinary lives.

Part 4 of The Marvelization of Man is delving deeper into the subtle art of mind control. It is something our Modern world has excelled at doing and perfected regardless of whether you live in a totalitarian system of government where overt mind control is used by nation-state like Russia, China, or Saudi Arabia OR if you live in a free-wheeling, capitalistic nation-state like the United States, Britain, Australia, or pretty much any nation aligning themselves economically and politically with the Western values and civilization.

The Rape of the Mind

Joost Meerloo describes Chapter 5 of his book Rape of the Mind in this way:

The purpose of the second part of this book is to show various aspects of political and non-political strategy used to change the feelings and thoughts of the masses, starting with simple advertising and propaganda, then surveying psychological warfare and actual cold war, and going on to examine the means used for internal streamlining of man's thoughts and behaviour. Part Two ends with an intricate examination of how one of the tools of emotional fascination and attack -- the weapon of fear -- is used and what reactions it arouses in men. 
                   -- page 65 | The Rape of the Mind

I will highlight parts of Chapter 5 discussing Psychological Warfare as a Weapon of Terror (Page 69 — The Rape of the Mind) and provide current models of how this continues to take place today.

Psychological Warfare as a Weapon of Terror

Chapter 5: The Cold War Against the Mind.

Every human communication can be either a report of straight facts or an attempt to suggest things and situations as they do not exist. Such distortion and perversion of facts strike at the core of human communication. The verbal battle against man's concept of truth and against his mind seems to be ceaseless. For example, if I can instill in eventual future enemies fear and terror and the suggestion of impending defeat, even before they are willing to fight, my battle is already half won.  
            -- Page 69 - 70 | The Rape of the Mind
The strategy of man to use a frightening mask and a loud voice to utter lies in order to manipulate friend and foe is as old as mankind. Primitive people used terror-provoking masks, magic fascination, or self-deceit as much as we use loudly spoken words to convince others or ourselves. They use their magic paints and we our ideologies. Truly, we live in an age of ads, propaganda, and publicity. But only under dictatorial and totalitarian regimes have such human habit formations mushroomed into systematic psychological assault on mankind. 
            -- Page 69 - 70 | The Rape of the Mind
Trump — Shaman-Magician, Primitive Boogeyman | Music: Succession: Season 1 (HBO Original Series Soundtrack) — Nicholas Britell
The weapons the dictator uses against his own people, he may use against the outside world as well. For example, the false confessions that divert the minds of dictator's subjects from their own real problems have still another effect: they are meant (and sometimes they succeed in their aim) to terrorize the world's public. By strengthening the myth of the dictator's omnipotence, such confessions weaken man's will to resist him. If a period of peace can be used to soften up a future enemy, the totalitarian armies may be able in time of war to win a cheap and easy victory. Totalitarian psychological warfare is directed largely toward this end. It is an effort to propagandize and hypnotize the world into submission. 
            -- Page 69 - 70 | The Rape of the Mind

Consider Russia:

Russian President Vladimir Putin speaks with journalists after a live broadcast nationwide call-in, Moscow, April 14, 2016

Photo by Maxim Shemetov/Reuters

The Russian “Firehose of Falsehood” Propaganda Model

Why It Might Work and Options to Counter It — by Christopher PaulMiriam Matthews — RAND

We characterize the contemporary Russian model for propaganda as “the firehose of falsehood” because of two of its distinctive features: high numbers of channels and messages and a shameless willingness to disseminate partial truths or outright fictions. In the words of one observer, “[N]ew Russian propaganda entertains, confuses and overwhelms the audience.”2
Contemporary Russian propaganda has at least two other distinctive features. It is also rapid, continuous, and repetitive, and it lacks commitment to consistency.

Or…

The failure of Russian propaganda
By Dr Jon Roozenbeek — University of Cambridge

Russia’s years-long information war was instrumental in informing Putin’s decision to invade Ukraine. This effort has failed to build support for Russia among Russian-speaking Ukrainians, especially in Donbas. 

A key example is the myth of “Novorossiya”. The term, which means “New Russia”, is meant to conjure up feelings of a restored Russian empire and righting the historical “wrong” of assigning Russian lands under Ukrainian jurisdiction. 

Since 2014, Putin, the Kremlin’s propaganda strategists, and insurgents in the “People’s Republics” of Donetsk and Luhansk repeatedly referred to “Novorossiya” as one of the justifications for Russia’s invasion. 

In reality, there never was a Novorossiya. As an ideological project, it has failed to take hold in the minds of those living on its supposed territories in eastern and southern Ukraine, and was abandoned by Russia and the authorities of the “People’s Republics” of Donetsk and Luhansk as soon as it became politically inconvenient.


As far back as the early nineteenth century, Napoleon organized his Bureau de l'Opinion Publique in order to influence the thinking of the French people. But it fell to the Germans to develop the manipulation of public opinion into a huge, well organized machine. Their psychological warfare became aggressive strategy in peacetime, the so-called war between wars. It was as a result of the Nazi attack on European morale and the Nazi war of nerves against their neighbours that the other nations of the world began to organize their own psychological forces, but it was only in the second half of the war that they were able to achieve some measure of success. The Germans had a long head start. 
         -- Page 69 - 70 | The Rape of the Mind
Hitler's psychological artillery was composed primarily of the weapon of fear. He had, for example, a network of fifth columnists whose main job was to sow rumours and suspicions among the citizens of the countries against which he eventually planned to fight. The people were upset not only by the spy system itself, but by the very rumour of spies. These fifth columnists spread slogans of defeat and political confusion: "Why should France die for England?" Fear began to direct people's actions. Instead of facing the real threat of German invasion, instead of preparing for it, all of Europe shuddered at spy stories, discussed irrelevant problems, argued endlessly about scapegoats and minorities. Thus Hitler used the rampant, vague fears to becloud the real issues, and by attacking his enemies' will to fight, weakened them. 
         -- Page 69 - 70 | The Rape of the Mind
Manipulation Man | Music: Books of Blood: The Coming of Tan by Jedi Mind Tricks
[Album: The Psycho-social, Chemical, Biological, And Electro-magnetic Manipulation Of Human Consiousness]
Not content with this strategic attack on the will to defend oneself, Hitler tried to paralyze Europe with the threat of terror, not only the threat of bombing, destruction, and occupation, but also the psychological threat implicit in his own boast of ruthlessness. The fear of an implacable foe makes man more willing to submit even before he has begun to fight. Hitler's criminal acts at home -- the concentration camps, the gas chambers, the mass murders, the atmosphere of terror throughout Germany - were as useful in the service of his fear-instilling propaganda machinery as they were a part of his delusions. 
        -- Page 69 - 70 | The Rape of the Mind
There is another important weapon the totalitarians use in their campaign to frighten the world into submission. This is the weapon of psychological shock. Hitler kept his enemies in a state of constant confusion and diplomatic upheaval. They never knew what this unpredictable madman was going to do next. Hitler was never logical, because he knew that that was what he was expected to be. Logic can be met with logic, while illogic cannot - it confuses those who think straight. The Big Lie and monotonously repeated nonsense have more emotional appeal in a cold war than logic and reason. While the enemy is still searching for a reasonable counter-argument to the first lie, the totalitarians can assault him with another. 
          -- Page 69 - 70 | The Rape of the Mind
The Big Lie | Music: Big Lie – Johndavid Bartlett

Archetypal Animations

Images created on Genlove.

Feature Archetypal Animation

Music: Superhero — Daze

(Album: Super Heroes)

Music: Succession: Season 1 (HBO Original Series Soundtrack)– Nicholas Britell

Music: Books of Blood: The Coming of Tan — Jedi Mind Tricks

(Album: The Psycho-social, Chemical, Biological, And Electro-magnetic Manipulation Of Human Consiousness)

Music: Big Lie – Johndavid Bartlett

Marvelization of Man

This is the first blog in a series discussing the Marvelization of Man’s Mind.

Morbius

After watching Morbius, I felt flat and bloated like I had just downed a Family Sized Package of Cheetos too fast.

MORBIUS – Official Trailer (HD)

Don’t get me wrong, I loved Morbius’ origin story!

The movie is well acted, well executed, and has superb special effects… just as we have come to expect from a Marvelous Marvel Movie… or should I say, just as we have been conditioned to expect?

Perhaps that’s it, Marvel Movies are entirely predictable. In the past 20 some years, they have become perfectly formulated to meet popular tastes. Because of this, we know what to expect, when to expect it, and how to expect it.

Marvel Movies run on well worn tracks of success. Yes, a few have been busts, but on average, Marvel Movies make $715 million dollars per movie with at least half of this gross-income, which means it goes right into the pockets of Robert Iger, CEO, and the Disney-Marvel Cinematic Universe. This has been the case since 2009 when Disney brought Marvel Cinematic Universe from Ronald Perelman who formerly use to pocket the bucks.

The Marvelous Marvel formula has evolved to include hooks and lures about how each newly rendered Marvel character retrieved from the Marvel vault and brought to life on screen will met up and team up with other recently revived Marvel characters for the next Marvelous Marvel movie.

Heck, soon the different Disney universes and their characters might begin meeting up with Marvel, or ever perhaps as, Marvel characters to fight off the bad guys.

Perhaps like this super cool new chic: Tinker Bell Die Hard Predator Ape?

Don’t Mess With the Tinker Bell Die Hard Predator Ape! | These blended characters are all owned by Disney!

Hell YEAH… this might actually BE interesting!

Marvel Characters Are Archetypes

We adore Marvel characters because they are archetypes. They speak to things deep inside of all of us: the Good, the Bad, and the Ugly. Stuff that is really, really hard to speak to each other about in our overly average, highly regimented, very repetitive work, work, and more work worlds.

Mostly we don’t talk to each other about this stuff. It is so much safer (and let’s face it, it is so much easier) to be superficial with each other.

That’s what the movies are made for! Right?!

Movies give us an emotional release and a little freedom from all that stuff pent up and building up inside of us. The stuff we don’t or can’t talk to each other about, at least not on the deepest levels where our wounds usually lay. These are deep interior layers that we can seldom reach without self-expression that can lead to self-realization, if we allow it.

This is what archetypes partly do for us. They help illuminate things inside of us that are vague, mysterious, troubling, or even exhilarating. But things that are hard to put our finger on because they are inside of us and we can’t see them with our eyes. We can only feel them or try not to feel them when they bother us too much.

Archetypes are mental models that give shape and perspective on the shadowy, nebulous, unsettling, fuzzy states and feelings that can overtake us. They do a lot more than this, but for the purposes of this blog I’ll stick to how archetypes provide man with mental models on how to handle and act to feelings rising inside of him and all around him in other people.

Ever since Marvel’s founding in 1939 by Martin Goodman, which was then known as Timely Comics, the characters have been giving shape to man’s collective shadowy feelings and showing us possibilities on how to channel and handle our dim, indistinct inner worlds in our shared outer world.

In 1951, Timely Comics became known as Atlas Comics. It is not until June 1961 that it transforms into the franchise we know it today as Marvel with the launch of The Fantastic Four.

Ever since its beginning, Marvel characters were created to meet a moment. They emerged from the fabric of that time and in the spaces of what was happening in the country or world at that moment. Their creators invented characters who could met the demands and uncertainty of the times in which they were created.

I am sure each creator imbued their characters with the super powers everyone needed at that moment to survive mental through the demands, threats, and catastrophes of the times. That is what archetypes do. They provide strong mental images combined with stories that imbue inspiration, hope, and courage into the hearts and minds of real people who need to meet real life challenges as they navigate the ups and downs of life.

Character     Date Created            Creator(s)

Sub-Mariner | 1939 (Build up to WII)| Bill Everett

Human Torch | 1939 (Build up toWWII) | Carl Burgos

Angel | 1939 (Build up to WWII) | Paul Gustavson

Masked Raider | 1939 (WWII & shifting economics) | Al Anders

Phantom Reporter | 1940 (WWII & shifting economics)| Robert O. Erisman, Sam Cooper

Black Widow | 1940 (WWII & shifting economics such as women working to build war machines and bombs) | George Kapitan, Harry Gahle

Vision | 1940 (Intensification of WWII)| Joe Simon, Jack Kirby

Captain America | 1940 (Intensification of WWII)| Joe Simon, Jack Kirby

Black Marvel | 1941 (Intensification of WWII) | Al Gabriele

Uranian Boy | 1950 (First atomic bomb drop 1945) | Stan Lee, Russ Heath

The Fantastic Four | 1961 (It's the 60s and its Stan and Jack!) | Stan Lee, Jack Kirby 

The Hulk | 1962 (It's the 60s and its Stan and Jack!)| Stan Lee, Jack Kirby

Red She Hulk | 1962 (It's the 60s and its Stan and Jack!) | Stan Lee, Jack Kirby

Thor | 1962 (It's the 60s and its Stan and Jack!)| Stan Lee, Jack Kirby

Spider-Man | 1962 (It's the 60s and its Stan and Steve this time)| Stan Lee, Steve Ditko

Iron Man | 1963 (Cuban missile crisis 1962)| Stan Lee, Jack Kirby, Don Heck

Doctor Strange | 1963 (Cuban missile crisis 1962) | Stan Lee, Steve Ditko

Black Panther | 1966 (Civil Rights Act sign 1965) | Stan Lee, Jack Kirby

                                            -- See full timeline at Wiki

I think you get the idea.

So, What’s Wrong With A Little Marvel Time?!

There is nothing wrong with a little Marvel time.

The issue is much more subtle and pervasive than that. It is not so much that we go to the movies to watch great, big, spectacular dramas that take our minds off our worries or give us a joyful jolt of non-reality.

The issue is rather what we are not seeing when we go to the movies, especially the really BIG blockbuster ones that are highly formulated and super monetized to capture our time and attention.

These blockbuster cash cows act like somewhat steamrollers crushing the competition and funneling more and more money into the pockets of billionaires who own mega conglomerates that control the content and production of multiple franchises and merchandise.

And guess what the mega billionaires want you to do?

They want you to go to see more of their movies and buy more of their merchandise so they make more money.

And we do exactly that… and each time we do, they grow even bigger!

If you’re wondering why Marvel movies all look alike, it’s because of us. It is the way we are choosing to consume them.

I recently learned more about this from Terry Gross’ interview with Lucas Shaw, who is in charge of Media and Entertainment at Bloomberg and writes the Screentime newsletter. He’s the one who made me aware of how much content Disney owns!

But there are a lot of other big Media-Entertainment Titans operating out there too and all of them want to get inside our heads and tickle away some our money that we make working highly automated jobs that require at least 8 hours of our days, 5 days a week.

Sadly, despite popular opinions, most of us do not work in our Dream Jobs! Indeed, most of us must go through the motions 8 hours days doing very boring, tedious, monotonous work. So who wouldn’t want to break free and escape into a Marvelous Marvel movie when it comes out?

But that might be exactly what the super rich want us to feel and react. They can make money from lots of bored people who need to escape from their dreary, mind-numbing, mechanical lives with a Fantastic New Movie!

And, hey wait, you can also escape and feel just like the movie characters feel by buying this splashy new watch or this brand new fancy car or this mouthwatering, very pricey dress. And of course you need the latest technology to go along with all this! You want to look modern don’t you?

All these fancy, enjoyable costly things are there to help you escape from your boredom and ease your burden of living highly repetitive, unvarying, humdrum modern lives.

Lucas Shaw tells Terry Gross how the movie-TV-streaming business is becoming one super long ad promoting consumerism, capitalism, and merchandising by the new Titans of Industry.

SHAW: You know, Barry Diller, I feel like, has been declaring the death of Hollywood for a long time now, so I do take what he says with a little grain of salt. But he's right that the growth of Amazon and Apple, which I would say are now two of the six major studios in town - you know, they've replaced some of the other ones that have been consolidated in the deals that we've talked about - entertainment is not their primary business. And it speaks to maybe the lesser value of traditional film and television in broader culture, where it - so does the fact that YouTube is now bigger than any TV network, that if you - that TikTok is as popular as any streaming service.
You know, film and TV doesn't have the same stranglehold on culture and on youth that it used to. And it's - if I were running one of these traditional media and entertainment companies - running Warner Bros. Discovery, running Disney - it would certainly scare me that two of our biggest competitors don't care about making money from film and TV in the same way because it means that the stakes are lower. The approach is going to be different. And entertainment is just a means of selling something else - in Amazon's case, you know, diapers or books or whatever it is; in Apple's case, phones and other devices. -- FreshAir, July 20, 2023

So my take away from this conversation is that the purpose of movies, TV shows, and streaming platforms are increasingly veering towards a focus on how to keep viewing audiences glued to a particular station-conglomerate, so it can make more money–be that ads, subscriptions, or the super cool merchandise they make, create, and sell.

The Hollowing Out Effect of Money

This hyper-focus on making more money is a major force in hollowing out many Marvel characters. You can read about the reasons why 16 actors are talking about quitting or leaving the Marvel Cinematic Universe here.

The Marvel universe seems to be becoming more one-dimensional and cartoonish as the focus on making another blockbuster and capturing the vast majority of the market take precedence over story. This focus on money has a watering down effect on the characters, making them feel less real, less vibrant, and less inspiring.

They are losing their numinosity, which is what archetypes hold for us. Numinous content gives our lives meaning, content, and purpose. Without numinosity in our lives, we feel drab, automatic, and mechanical.

But maybe the mechanization of man is one of the very objectives these new Titans of Industry seek to create inside of us.

If we are continually feeling unimportant, unremarkable, and unnecessary in keeping the clogs of industry running in the world, then we need to compensate for our super small roles in society.

How else can we wake up each morning and go out to do our boring, repetitive jobs?

So a good Marvel Movie is a great antidote to not feeling like a machine!

But, don’t get too caught up in the marvelousness of a Marvel movie! That would be going too far in our highly mechanized modern world.

If you do happen to believe Marvel characters are real and you look up to them and draw hope and courage from then (like any good archetype should do), then you will get laughed at because we are not really suppose to identify with them anymore. They are simply entertainment.

We watch them, then we get up the next day and go back to work to make some money so we can go watch the next amazing Marvel movie coming out soon because there was that little teaser at the end!


Another troubling result of the Marvelization of Man is that Marvel movies are impacting how other movies are made or even more importantly, NOT BEING MADE.

With great big, super blockbusters with BIG special effects (like Marvel, Star Wars, Avatar), more and more people only go to theaters to see these on the silver screen. They don’t show up for the “other movies” being made and trying to survive in an increasingly one-dimensional entertainment universe.

Basically, every studio wants a piece of the action in this “shared universe” business.
But it’s hard to argue that any of them have been as successful as Marvel has.
Kevin Feige’s ambitious plan (which resulted in him being named President of Marvel Studios and reporting directly to Disney CEO Bob Iger) has fundamentally changed the way film studios approach properties. Certainly, a creative idea which allows for iteration upon iteration, sequel after sequel after spinoff after prequel, to be produced is appealing to every studio executive. -- The Marvelization of Movies |  / FILM TALKIES

This effect is drying up the field of creativity for the creation, production, and life of other types of movies that deal with difficult but really important stuff such as Women Talking:

The women of an isolated religious community grapple with reconciling their reality with their faith. Though the backstory, we see a community of women come together to figure out how they might move forward together to build a better world for themselves and their children. Stay and fight or leave. They will not do nothing.— Official synopsis
WOMEN TALKING | Official Trailer

Or like the Fabelmans:

Growing up in post-World War II era Arizona, young Sammy Fabelman aspires to become a filmmaker as he reaches adolescence, but soon discovers a shattering family secret and explores how the power of films can help him see the truth.

It is lpLoosely based on Spielberg's childhood growing up in post-World War II era Arizona, from age seven to eighteen, a young man named Sammy Fabelman discovers a shattering family secret, and explores how the power of movies help us see the truth about each other and ourselves. —Toronto International Film Festival

He also encounters antisemitism and bullying, which is a very important issue that deserves far more airtime in our current culture and polictical climate.
The Fabelmans | Official Trailer [HD]

Or going back even further to the time of radio like Suspense: Report From A Dead Planet

Report From a Dead Planet – Suspense | A spaceship lands on a beautiful world and finds that all the inhabitants have vanished.

Another thing that struck me while watching Morbius is that really talented actors are playing pretty superficial, very simplified characters.

Matt Smith for example is the villain in Morbius. He is great as the villain, but his performance leaves me feeling empty. He is a really talented actor! Why don’t I feel more from his performance in Morbius?

Because I’m not supposed to?!

His super villain in Morbius is pretty vanilla compared to his roles in Season 1 and 2 of The Crown, The Last Night in Soho, and my all time favorite The Doctor of Doctor Who.

Also, Jared Leto who plays Morbius struck me as a super talented actor as well. I haven’t seen him before. He does a great job playing Morbius. In fact, he imbue more life into Morbius than the role allows.

I think Quentin Tarantino sums it up pretty well when he said: “Marvel Actors Are ‘Not Movie Stars’

Tarantino previously said that he would not want to direct a movie for Marvel Studios for the simple reason he is “not a hired hand.’ As someone planning to direct just ten movies in his career, and with only one of those to make up the number, it is probably not surprising that the Pulp Fiction helmer would want to concentrate on his own ideas. When it comes to the MCU, the director says that the franchise does not contain any “movie stars” as the characters are all people want to see. He said:
“Part of the Marvel-ization of Hollywood is… you have all these actors who have become famous playing these characters, but they’re not movie stars. Right? Captain America is the star. Or Thor is the star. I mean, I’m not the first person to say that. I think that’s been said a zillion times, you know, but it’s like, you know, it’s these franchise characters that become a star.” -- Quentin Tarantino Says Marvel Actors Are 'Not Movie Stars'
BY
ANTHONY LUND
PUBLISHED NOV 22, 2022
Quentin Tarantino has been vocal about his feelings regarding the Marvel Cinematic Universe, and it looks like he isn't quite done yet.

So What?

I will still watch Marvel movies.

But I will seek out and watch more different movies that leave an impression in my psyche and make me think about the world in ways I might not have before.

I will continue to gravitate to movies where BIG ideas are explored rather than BIG action but increasingly hallow characters dance across the screen.

I want something that satisfies my imagination and feeds my psyche, because feeling alive and not like small cog in a BIG machine is important to me, and only I can change my perspective and the way I feel about things.

Stories and movies feed my imagination so I can feed and grow my soul.

Stay tuned for this series because I am going to go deeper into the effects and impacts of living in our super consumerism society on man’s mind.

For now, maybe the Oppenheimer-Barbie movies will provide a reprieve from the Marvelization of Man’s Mind.

Introducing Atomic Barbie | The New Super Hero We Didn’t Know We Need!

Archetypal Animations

I made all images with Genolve using AI generated images, specifically Midjourney, this time. So I am just listing the songs used in the above animations.

Feature Archetypal Animation: Nowhere but Up | [3] Break the Chain    4:53

WYR GEMI – Predator | Music for Tinker Bell Die Hard Predator Ape!

Mary Poppins Jedi Master Archetypal Animation:

SUPERCALIFRAGILISTICEXPIALIDOCIOUS (Clean Version)209TONYTONY

[1] SUPERCALIFRAGILISTICEXPIALIDOCIOUS    3:02

Barbie Archetypal Animation:

Summer Nova All Atomic

[1] Summer Nova    5:18