True vs. "true"
Nathan Jacobson » Philosophical Moments from Caprica, Flash Forward, and Community.
Recently a number of philosophically arresting moments have managed to insert themselves into the television landscape. True to form, Ronald D. Moore and company continue to address contemporary political, philosophical, and religious questions in the alternate world of Caprica, territory he brilliantly charted in his groundbreaking Battlestar Galactica. If the pilot is any indication, Caprica promises to explore even more pointedly themes of religious and ethnic tolerance, terrorism, technology, and the nature of the soul. ABC's FlashForward, clearly aimed at continuing the legacy of Lost and retaining its audience, has somewhat disappointed so far, but has nonetheless woven several provocative existential questions into its narrative, including one powerful Sartrean moment in particular. On the comedic front, NBC's Community had the temerity to devote an episode to whether humanity is intrinsically good or evil, and did so superbly. I'll admit to being prone to vegging in front of the tube even when the viewing is less cerebral, but a couple of these moments had me off the couch cheering for the writers.
director Larry Charles, writer Bill Maher (Thousand Words: 2008), 101 min.
If you consider a wide sampling of the reactions to Bill Maher's and Larry Charles' Religulous, two distinct themes emerge. On the one hand, reviewers consistently note that the filmmakers were deliberately manipulative in their survey of religion: in whom they chose to interview and feature, in asking baited questions, and finally, in their merciless splicing and dicing in the editing room. And so, not surprisingly, religious people come off as goofy, gullible, and worse. On the other hand, a number of reviewers note what they take to be an earnest search by Maher to understand people of faith. As Maher puts it himself at the outset, his quest is to understand how otherwise intelligent and rational people can continue to believe in fantasies like talking snakes and a virgin birth. It's a worthwhile question, and there are moments in the film when Maher displays some genuine curiosity about it. Nonetheless, these two observations about Religulous seem to be incompatible. And regrettably, by the end, it is clear that Maher and Charles set out not on a quest for understanding, but rather to proof-text their presumptions. Religulous is funny enough, and at times thought provoking. On the whole, however, Religulous is a "mockumentary". A hit-piece. It is a quest that begins with a predetermined destination in mind and manages to arrive there by scrupulously avoiding any detours that might have derailed the script.