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A Rambling Ranty Post about Realisms on the scReen

06 Thursday Jul 2017

Posted by danielwalldammit in Movies, Native American Themes

≈ 14 Comments

Tags

Culture, Fantasy, Fast Runner, game of thrones, George R R Martin, History, Realism, Reality Television, War

Someone I know and love likes to say that Game of Thrones is all fake. It’s fantasy, so there is nothing realistic about it. This same individual (whom I know and love) eats up reality TV like it was candy. I think he knows as well as I do that those shows are often contrived, but that doesn’t stop him from getting really into the moment that alligator is on the hook and the second guy in the boat can’t seem to find his shot. I know as well as he does that Westeros ain’t real, but that doesn’t stop me from worrying about the fate of Jon Snow. Each mode of storytelling works for one of us and not the other.

But what does realism have to do with it? Or anything else for that matter?

***

It’s easier to see the connection for reality TV, not because it’s more real in an objective sense, but because the theme is more central to the genre. Reality television purports to be showing us something about how people in some part of this world really do live. That’s a claim that goes a bit beyond the story-line itself and reaches into the mess of life we sometimes call the real world. That claim constitutes a significant portion of the genre’s appeal. It’s a bit like porn, actually. The dialogue may be utter crap, but somehow the sense that you are seeing something real makes it a little more interesting. At least I think that’s the point, or at least part of it. For myself, I just can’t get into it. Knowing just how much manipulation goes into the stories told in reality television, constitutes a bit of deal-breaker for me. Perhaps I would enjoy it more if I could suspend disbelief and just enjoy the stories, but how does that suspension of disbelief work when a sense of veracity is central to the genre?

…also, there is the expository crutch!

Reality television leans very heavily on the use of exposition. Far too often, for me anyway, they break away from the action to have one of the characters explain events to the audience in their own words. Without these moments we would be missing a lot of the plot-line. Reality television uses these moments to fill in the gaps. It also uses them to tell us what’s at stake in the action, often playing up the drama well beyond any significance we could draw from the events ourselves. …if we don’t get this fish trap to work we’ll starve! We need to fix the oil leak in our car or we’ll freeze to death on this mountain top. That chef needs to change his recipe or the whole business will go under! …you get the idea. They’ll repeat these narratives a few times each episode, just to make sure you get caught up in the point. Maybe, I’m a hard sell, but most of the time I just don’t believe them. More importantly, I find the whole convention damned tedious. When did so much exposition become good writing? I’m guessing that moment in television history came during the early episodes of MTV’s Real World and that first season of Survivor.

Remember Survivor? Remember the hype leading up to the first episode? This was supposed to be about people surviving on their own under primitive conditions. Only they couldn’t! Those guys really couldn’t do much to feed themselves and contribute to their own survival. But they did get just enough food and water from the show producers to survive so long as they didn’t waste their energy trying to survive on their own. So they mostly sat around and bickered with each other. Somewhere in there, I imagine, the production team must have had a collective panic attack. …My God, the whole story just ain’t happening! What do we do? The answer turned out to be high school soap opera, and thus the master script was born for just about every reality television program made ever since.

That’s how I imagine it anyway. It may not be real, but if you had me and five of my friends telling you the story of this blog post, I’ll bet it would pass muster for reality TV.

“…this really is a must write blog post for Dan. He’s at his breaking point.”

“I knew, I had to do post something today. This post was like a dark cloud hanging over my head.”

“If Dan doesn’t finish this post today, I’m pretty sure he’ll be eaten by black bears.”

“I don’t see what the big deal is. Nobody reads blogs anymore anyway.”

I’m voting that last fucker of the island!

***

But let’s come back to the Game of Thrones! I get the concern. It’s fantasy. There are dragons. Magic works (except when it doesn’t), and well, hell, did I mention there are dragons? Clearly, some things about Game of Thrones are not real at all. Still, I think the show has two (maybe three) realisms lacking in many more ‘realistic’ genres.

First and foremost, it’s all the death, the gruesome terrible deaths, the ones that happen to central characters that we all know and love. Love it or hate it, George R.R. Martin’s penchant for killing off key protagonists has long since become the defining feature of the show. For myself, I love it, but there is a certain dwarf that better be in good health at the end of this coming season or I’ll, I’ll, …I don’t know what I’ll do.

Take that Martin!

People ask Martin about this all the time. I’m particularly fond of the answer he once gave The Independent:

“A writer, even a fantasy writer, has an obligation to tell the truth and the truth is, as we say in Game of Thrones, all men must die,” he told Galaxy’s Edge Magazine. “Particularly if you’re writing about war, which is certainly a central subject in Game of Thrones.”

He continued: “We’ve all read this story a million times when a bunch of heroes set out on an adventure and it’s the hero and his best friend and his girlfriend and they go through amazing hair-raising adventures and none of them die. The only ones who die are extras.

“That’s such a cheat. It doesn’t happen that way. They go into battle and their best friend dies or they get horribly wounded. They lose their leg or death comes at them unexpectedly.”

The author goes on to explain, slightly morbidly, that we’re all going to die at some stage as mortality is inevitable. “Once you’ve accepted that you have to include death then you should be honest about death and indicate it can strike down anybody at any time.

“You don’t get to live forever just because you are a cute kid or the hero’s best friend or the hero. Sometimes the hero dies, at least in my books.”

I take that to be a kind of realism. It’s not about authentic costumes or weaponry, or the details of some known historical event. It’s about the human cost of warfare. Martin is known to have patterned his fiction after some real historical conflicts (most notably the War of the Roses), but of course his work remains fiction. Hell, it remains fantasy-fiction. So, we have no baseline from which to compare his description of events to a known fact, at least not any he is obligated to render with accuracy. Still, Martin’s willingness to kill off the characters we care about tells us something about war that many more ‘realistic’ stories keep leaving out.

I would add that it isn’t just Martin’s willingness to kill important characters that sets his stories off from others. It’s his willingness to do it unexpectedly, suddenly, and often without any hint of heroics in the moment of death. Time and again, Game of Thrones invites us to identify with a character, to root for them, only to kill them in the end.

…only to leave us watching as the struggle goes on without those whose story arc had once defined the whole meaning of the show for us.

That is a kind of realism, one largely absent in a good deal of historical fiction.

***

None of this is exactly Italian neorealism. But each of these genres effects a kind of realism amidst a story-line saturated with fiction. Where one purports to show us something akin to lives of people in odd walks of life, another aims to show us how human beings struggle to deal with terrible events. For either to work, something in story-line must resonate for the viewer (or reader).  Each in its own way speaks to a sense of reality, though each also weds that sense of reality to a fabricated universe of its own.

***

Historical accuracy might be thought to present another type of realism, but of course historical films (and even documentaries) are saturated with their own contrivances. The blog, An Historian Goes to the Movies presented a very thoughtful discussion of the subject here, here, and here (and really throughout his entire website). In one of the most interesting passages in this series, he talks about the public’s penchant for scrutinizing the accuracy of material culture and fighting techniques in film while ignoring the historical accuracy of plot points:

I find it very striking that audiences apparently want a sense of accuracy about violence, but not about plot. They cheerfully accept absurd plot developments (like Isabella being way too young and way too far way to have an affair with Wallace), but will complain if the sword fighting looks too fake. (Compare contemporary film violence to that from the 60s, for example, to see just how much effort Hollywood has put into improving the realism of its violence.)

Imagine for a moment a film in which the emphasis was on accuracy of the plot, but not on accuracy of the costuming or weaponry. Picture William Wallace running around in a 20th century British military uniform carrying an AK-47 but engaging in fairly accurate political maneuverings.

Most people would react to that poorly, I suspect, because Hollywood trains us that accuracy means specific things and generally excludes other things. But theatrical and cinematic adaptations of Shakespeare employ this device fairly frequently. Instead of setting his Richard III in the 1480s, like the historical Richard III, or in the 1590s, when the play was first performed, Ian McKellan set his version of the play in the 1930s, depicting Richard as a would-be fascist dictator. A particular favorite detail is the arrangement of 16th century poem “Come Live with Me and Be My Love” as a sort of Swing-era piece. The famous “Now is the winter of our discontent” speech becomes a political speech. It works beautifully, and while the setting isn’t faithful to the play as Shakespeare envisioned it, it works marvelously and offers a wonderful comment on the politics of both the 15th and the 20th centuries while still being true to the spirit of the play. This is a film making careful, clever use of its choices about historical inaccuracy.

Perhaps the most interesting part of this commentary lies in the comparison with Shakespearean theater. While it’s easy to fall into the trap of thinking that the kind of bias he exposes here is just to expected from viewers, the comparison with Shakespeare shows us that it isn’t. There is indeed at least one genre which reverses the emphasis, taking us out of the realm of period dress and sword techniques and inviting us to dwell on the plot-line.

I want to underscore at least one aspect of this question about accurate plot-lines, namely the sense of a character’s world view. Historical plot-lines can be inaccurate for any number of reasons, but one of the most interesting and common inaccuracies would seem to be a penchant for reading modern thought worlds into the motivations of historical characters. In this respect, Mel Gibson is the gift that keeps on giving. Whether it be a southern plantation owner who doesn’t own slaves, or William Wallace crying ‘freedom’ as he is about to die, his historical characters typically speak to the sensibilities of modern peoples more than those of the era in which they purportedly lived. Whatever the (in-)accuracy of his dress or battlefield depictions, Gibson’s characters are often living anachronisms, thinking and behaving in ways that have less to do with the period than the social order of the modern day.

Here is another respect in which I think Game of Thrones is particularly good. For those of us who live in a modern republic, the logic of an aristocracy can seem quite vicious, often unnecessarily so. Why all the fighting? Is it vain ambition? And if these characters must fight for control of their worlds, could they not at least spare the children of their enemies? Even the title of the series points to the answer, but I believe it was Cercei who explained it best.

Again, this is fiction. Hell, it’s fantasy fiction, but it’s fantasy fiction pointing at a kind of world that has existed in human history, one many of us have trouble grasping. It’s a world in which heredity defines power, and even a child with the wrong bloodline is a very real threat to the powers that be. This too is a kind of realism, one which reminds us people in other times and places may not be able to act as we would, even if they wanted to. I admired Eddard Stark’s efforts to show mercy in this scene, and I expect I’m not entirely alone in this. But of course we call know how that turned out. We are 6 seasons into the show, and thus far, I have every reason to believe Cersei was right about this. Not just Certei. Martin too. This is Martin telling us something about the social order of a certain kind of world. His world may be fiction, but others like it would not be, and his story does indeed help to illustrate how those worlds work. Is it realism? Not quite. But you could learn a lot about real worlds from this kind of story.

***

So it seems the attempt to show us how certain people live in certain times and places always reflect the priorities of those who produce them. Are they trying to show us how people dressed, how a certain series of events unfolded, or how people thought about their lives in the context of the times depicted? One could find other priorities in a film, to be sure, but it would be a rare story that didn’t have some serious blind spots.

The funny thing about such blind spots is they can be hard to see at first, but once you find them, they can be equally hard to ignore.

***

Okay, so one of the ways I am cheating my way through this topic, so far, is that I keep picking examples where one can arrive at a reasonably sure sense of what the facts would say about a given issue, what would count as real if we chose to care about it. What about when you don’t know? What is realism when we don’t exactly know what the fact is?

Take the film, Atanarjuat (Fast Runner). Better yet, take the film Reel Injun in which director, Zacharias Kunuk discusses one of the challenges he faced in making Atanarjuat. He wanted to shoot some love scenes, but that raised an interesting question. How would two Inuits living essentially in the pre-contact era have actually made love. He couldn’t very well just have them start sucking face for foreplay, as would be the case in most love scenes, because Inuit in the precontact era didn’t kiss the way people do now. Lots of people have heard of an ‘Eskimo kiss’, which is essentially rubbing noses, or so we are told, but how does that work? Past movies set in the arctic depict this in rather comic terms, which was definitely not what Kunuk was going for. He wanted to portray this as accurately as possible. So, he talked to the elders in his own community and based his own love scenes on their answers.

So, is the ‘Eskimo kiss’ in Atanarjuat accurate? Is it realistic?

It seems rather likely that the answer is ‘yes’, but that isn’t entirely obvious. The elders Kunuk spoke to, might have been wrong. It’s certainly possible. Historical information isn’t carried in the blood, and customs change a great deal over time while people’s ideas about tradition are often rooted in the eras of their own youth. So, it is possible that Kunuk’s elders might have been factually wrong about an Eskimo kiss.

So what if they were?

Worst case scenario, the love scene in Atanarjuat is still the best answer that an Inuit director could come up with after speaking with Inuit elders in preparation for a movie with an Inuit cast and made essentially with an Inuit audience in mind. I can manufacture (as I just did) an objective question that Kunuk might have gotten wrong, but his answer is still the most authoritative I know of. It is certainly the most authoritative answer most of his non-Inuit audience will ever see. Whatever the facts of this topic, Kunuk’s portrayal is still a thoughtful expression of an Inuit perspective about the subject. That has to count for something.

So if someone asks me what is an ‘Eskimo kiss’, how am I going to answer them? I’m going to point them right to Atanarjuat, or maybe to Reel Injun. Of course, I could also say that an ‘Eskimo kiss’ is a silly western caricature of what different Eskimo peoples actually did, but then I’m still going to point them to Fast Runner, because what happens in Fast Runner is STILL the most authoritative answer to that question that I know of, at least on film. In effect, it is the most realistic film portrayal that I’m aware of at present.

The point here in this overly-belabored sub-theme is that realism isn’t always about objective facts. Sometimes it’s about perspective, Sometimes, it’s about the most authentic voice(s) you can find on a subject, the ones whose values and priorities are most relevant to a subject. This is particularly true of movies about exotic peoples, whether they be past civilizations, foreign cultures, or just the guy who does that really odd job. An outsider might manage a perfectly accurate portrayal of the lives of such people, but without some insight into their thinking, what would that be worth? Such insights must involve a native voice at some point. Better still when that voice can actually shape the narrative!

Will such a voice come with its own contrivance?

Of course.

Also, there is no Santa Clause.

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When Arguendo Argues Itself Into a Somehow

07 Monday Mar 2016

Posted by danielwalldammit in atheism, Religion

≈ 3 Comments

Tags

Apologetics, atheism, Belief, game of thrones, God, Jesus, religion, Stories, Villainy

Pop-apologists love to tell stories about how much atheists hate God. It’s a powerful claim, not because it’s accurate, but because it’s a bit like wishing us into the cornfields. All at once everything we say and everything we think is effectively removed from consideration and we sit mute despite our best efforts well beyond the eyes and ears of the one who put us there. You can try to reason with people who make this argument, but to them you might as well be out in the cornfield after all. They put you there with this story, and you can’t get out.

The pretext for putting us in that cornfield is often our commentary about moral qualities of God’s character. We tend to be critical of the big guy. These are themes well known by now to both atheists and religious apologists, as well as any number of people in between or off to the sides. That such comments are made for the purpose of argument seems obvious enough to me, but arguendo would seem to escape some folks, and so a comment or two on some of ‘God’s’ more unsavory activities quickly becomes evidence that those making the comments know very well that God is real and simply hate him.

And that’s the trouble with quote marks. Sometimes they disappear!!!

Anyway…

Maybe the whole argument is like a silence spell in a game of Dungeons&Dragons. All your thoughts about epistemology and metaphysics, logic, reasoning, the history of science or religion; all of these are suddenly translated into a single simple theme, the expression of brute rage. No matter what we actually say, or how we actually feel while talking about the subject, this notion that atheists just hate God translates the whole thing into rage. I can’t help thinking some apologists do it for just that very reason. Whatever the logic of it, the claim that atheists just hate God is a damned good way to end the discussion.

…even if one really means to continue talking about it anyway.

There is of course a self-fulfilling quality to all of this. No-one wants to be wished into the cornfields, metaphorically or otherwise. So, if you weren’t mad at God at the beginning of such a conversation, you may well find yourself mad at the person who said you were. Hopefully, this doesn’t rise to the level of brute rage, but it can certainly be frustrating. It’s at least enough to make a man brute miffed, stark-raving irritated, or even amused off at the source of the claim. Show that irritation, and you may well have the source claiming this is proof he was right about your motives all along.

I suppose it’s probably best to just go on about your life in such cases, really. It’s only a cornfield-banishment if you let yourself care about the brat who put you there. Otherwise, the demon kid is just an adult-child with his hands over his ears and you have a whole world in which to wander and explore. Who know? You may even find some corn to cook!

As often as not, we try anyway.

…to talk to the brat, I mean.

As often as not, when we try, the stratagem of choice will be to work our end of the dueling petitio. It seems obvious enough, so the thinking goes, that the person putting us into the apologetic cornfield construes our rejection of God in terms of an implicit assumption that He (God) must exist and that we must really know that after all. Since that is the point of explicit disagreement, this whole angle is a question good and begged. “Okay fucker,” so our inner monologue goes, “I can play that game too!” And out comes an argument in the form of an impatient reminder; “I don’t hate God; I simply don’t believe in him.” A frequent variation of this argument takes the form of an argument to the effect that one cannot hate someone or something one doesn’t believe in.

art-thrones-joffrey-620x349I used to think that made sense, but then Joffrey happened, and I learned very clearly that I can indeed hate someone I don’t believe in. Seriously, I have spent more time hating that little bastard than I ever spent on any real person. Neither Adolf Hitler nor John Chivington from actual history have been given nearly so many fucks from me as that perfectly fictional little piss-ant. Neither my old playground Nemesis, Scotty, nor the bastard who embezzled money from my Dad’s business when I was a teenager ever got my goat quite so effectively as that perfectly pathetic little bit of unreal royalty has. (Admittedly, Jofrrey has the advantage of being a recent pebble in my viewing-shoe, but presently anyway, he rouses more irkitude than any other.) So, yes, the bottom line here is simple. I can hate a person that doesn’t exist. I really can.

Oh geez! I hope I’m not the only one.

Well, I reckon I’m not. A quick look around the net seems to confirm that little creep got under a a good many people’s skins. It may be a charitable (or at least a convenient) assumption on my part, but I don’t think all the Joffrey-haters are under the delusion that he’s real. My capacity to hate people who aren’t real does not appear to be a super-power. Others too have this ability.

So is Joffrey unique? Could he be a sort of fictional singularity of hatred-arousing super-villainy? I mean, I don’t really hate Darth Vader. Never did. (The way he choked that guy with the force was actually kinda cool.) Snape and Voldomort hold my attention long enough to enjoy the story, but neither really makes the hair stand-up on the back of my neck. Angel Eyes from the Good the Bad and the Ugly? I kinda like him. Actually, I like a lot of villains. (Maybe that’s a problem.) Even Sauron is hard to really hate. That guy is more like a force of nature. He has to be contended with, but he isn’t human enough to be all that mad about him. You want him defeated, yes, but you don’t find your face screwing up with rage at the mere mention of his name.

See, …Sauron. You didn’t cringe, now did you?

Felix UngerThen again, there is Felix Unger. I know that’s probably one for the over-40 crowd, but seriously, you kids need to get off my lawn anyway, so I’m using him. He’s not quite a villain I know, but man could that character set me to gnashing my teeth. Don’t get me wrong, Tony Randall was great, and he was particularly great at making me hate that fricking Felix Unger. Also there is Frank Burns from Mash. Wasn’t that guy’s mere presence in a scene just like fingernails on a chalk-board? (Which brings me to a question; do young people understand how bad that chalk-board sound was? I haven’t heard it in well over a decade and I still hate it. Almost as much as I hated Frank Burns. I expect some folks have escaped this sound entirely, and maybe I should find a more current metaphor for a truly cringe-worthy event. …maybe something like Joffrey.) Anyway, the point is that you can hate fictional characters.

Definitely possible.

So does that count as a point for God’s apologists? No. It just means the world is, as usual, more complicated than we often imagine it to be. It is PARTICULARLY more complicated than we imagine it to be when we go to war with people who think wrong things (especially if they are doing it on the internet. …those fuckers!) To put it another way, if God was created by man, as some of us believe him to be, then perhaps He is the original Satan, because He has definitely rebelled against his creators. He keeps doing things we don’t want Him to, and when some of us want Him to just go away, he keeps popping up, in our dreams and stories anyway. No, not because He’s real, but because our own stories have endowed Him with with far more meaning than we can effectively dispatch in a single saying of the nay.

Just to be clear. I’m not really talking about God. I’m talking about ‘God’.

Polemic games aside, I do think this touches on a larger issue, maybe even a couple of them. There is something in the power of stories. I don’t mean some mystical force that bends steel or shoots mind bullets at people who piss you off. I mean that stories have a way of holding our attention more than we sometimes want them to. This is why people watch soap-operas. It’s the reason why any reality shows last more than  the time it takes to pitch them. And its the reason why every single one of the dark-violent soap operas now filling cable television will replace every resolved plot point with a new cliff-hanger, and they will do it every fricking time! (I’m convinced Joffrey is behind the lot of them. Seriously, what IS that kid doing now that his character is gone? Has anyone checked? Oh! Well, nevermind.) My point is that you will come back to watch a story (even a story that sucks) if it presents you with an open question. That bit of suspense keeps us coming back to great shows like the one that formerly bothered us with Joffrey. It will also have us watching 5 separate episodes of MTV’s real world after getting home from work, and grumbling the whole time.

“What could be dumber than this damned show?”

(Looks around the room.)

“Oh!”

burnsAll of which brings me back to the uncomfortable curve of the matter. I think an awful lot of unbelievers struggle with the hold that religious narratives have on our imaginations. I know my own religious sentiments stuck with me for years after I ceased vouching for their truth. This bothered me sometimes, but I began as a reluctant atheist anyway, so perhaps it didn’t bother me too much. I don’t know when, but sometime in the last couple decades many of my old religious thoughts fell away. Just the same, I remember what it was like to disbelieve and yet to feel moved by the same old religious narratives.

It doesn’t help of course that these narratives are still told in our presence, that others press upon us the need to vouch for the truth of those stories, and some even see fit to damn us for not believing them, but if you take all that away, it doesn’t necessarily mean we are free to skip our way on down to the god-free world to secular smiles and gooey gumdrops. Those stories are all over our minds, and they don’t go away just because their most flat-footed story-tellers are in the other room.

This fact may be more true for those of us that grew up in religious households, but I don’t reckon it’s untrue of others either. Religion provides so many recurrent themes to the cultural landscape around us that you just can’t escape it. And some of these are pretty good stories. Some are shitty-stories (e.g. God is not Dead), yes, but some are pretty damned moving, even to a non-believer (e.g. Amazing Grace). We may object to some of the implications. But that doesn’t mean the stories aren’t compelling, that we don’t feel the dramatic tension when the stories are well told, or that we won’t find ourselves rehashing a theme or two borrowed (perhaps without our realizing it) from religious circles.

Just as with fiction, religious themes may well hold someone’s interest without any literal belief in the characters and events described in them.

I should add that it isn’t entirely clear that atheists hate God, even as a concept. I’ve been focusing so far on villainous themes, because creeps and bastards are uniquely compelling (even godly ones). But of course, characters in a story move us in other ways too, and this is as true of divine stories as it is of sit-com plots. In the argument from evil, God is a downright bastard, to be sure, and I think sufficiently bastard-like to merit a conclusion or two about his character. Still, the peace-love-dove version of Jesus still evokes a warm and fuzzy something or other deep down in my non-soul. I don’t believe in either of these gods, of course, but the point is that each is moving in its own way. The gods of Greece and Rome can still get my interest, as can those of the Vikings. The shear inscrutability of Krishna can draw my attention as well as anything. All of these figures have compelling attributes, not because they are real, but because they are at times part of stories told really well.

Simply put, religious themes do not cease to occupy our attention simply because we stop believing in them. Our attention may be drawn to them by others, but our own thoughts will frequently come back to those themes without any external prompts. They occupy too much of the thought-world around each of us to be simply banished to the cornfields. In that respect, gods may have an advantage on atheists. We can be put in that cornfield by anyone malicious enough to go for the debate equivalent to a quick fix. Gods can’t. You put them out of your metaphysics, and they pop up in your poetry. Kick them out of your ethics and they sneak back into your favorite morality tales. Some may find in all of this an opportunity for a gotcha game, a chance to declare a debate victory of sorts, but that’s a scene closer to the spirit of Frank Burns than a Matlockesque moment of truth. (Yes, I wrote Matlockesque. Deal with it!) Still, we shouldn’t let the faux-apologetics cause us to lose site of something very human here; we don’t have to believe stories to be moved by them. I reckon those theists whose thoughts I value can see this as well as any atheist. As for those who continue to play the you-just-hate-God game, perhaps I shall put them in a cornfield of my own.

…better yet, rye.

Apologists keep telling us that God doesn’t go away when we cease to believe in him. I think its closer to the truth that ‘God’ doesn’t go away when we cease to believe in him. Some people will never notice the difference.

At this point, I reckon that really just shouldn’t surprise anyone.

 

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