Revelations Under the Dome: Don’t Drink the Water

Utilitarianism, Darwinism, Principles of Proportionality. All these concepts have been used, experimented with, and abused at some point in human history. Over time, they have been combined with various doctrine in different religions. The initial discussion here is about the fact that we do use concepts, like those mentioned above, to make the world go ‘round whether it is in the public or private sector, the government or religious systems. It is true, however, that at times we are not consistent with the application of these principles, sometimes we disagree on these principles, and sometimes people take initiative to use these principles in the name of the greater good… without consulting the greater good. **coughREBECCAcough** Ahem…

 

For example, while the principle of proportionality, which in its most basic form states that the violence and force used in a war must be proportionate to the attack that will be suffered, is one of the criteria for Catholic Teaching’s Jus ad bellum, it is not applied in any other area of Catholic Teaching. The principle of proportionality does not only have to be used in time of war or violence, there are other areas where this could be applied. The choice, because it is a choice, to apply this principle in one area of Catholic Teaching, but not other areas has, of course, historical ties. All I think we should take away from this, since I am not at this point writing on Jus ad bellum specifically, is that at different points in history there is a proposed need to use different philosophical, political, and religious methodologies to deal with the problem at hand. While I may, now, disagree with how proportionality is used, I do accept that the concept when applied to a historical war may have been appropriate for that time.

 

Ok, tangent over, let’s look at some of the concepts and principles I brought up.

 

Utilitarianism – Morally right action that produces the greatest good for the greatest amount of people. Example: I hate ricotta cheese, but damn it all, everyone else wants it in the lasagna so we put it in.

 

Darwinism – Loaded term since it has been hijacked many times over. For our purpose let’s call it survival of the fittest. Example – May all the lactose intolerant perish on this ricotta-filled lasagna for their inferior genes.

 

Hedonistic Utilitarianism – Classical Utility meets selfish pleasure (arguably Bentham and Mill were not hedonistic because of a hierarchical view of normative good associated with pleasure) so the greatest amount of pleasure that I can get for me… crossing over into egoism. Example: Screw the ricotta, we’re using mozzarella because I want it.

 

Proportionality – As previously discussed. Example: The ricotta went bad, BUT I should serve it anyway to the ricotta lovers because that cheese is evil and in order to have a purified cheese state they (sadly) need to perish for the greater mozzarella good. (Or something like that.)

 

Got it? Truth here – I really do hate ricotta, and I’m Italian.

 

Ok then. So WHY am I bringing all this up?! Thank you for asking.

 

UNDER. THE. DOME.

 

REBECCA…. grrrrrrrrrr (growl with me here…)

 

**Spoilers… but for a few weeks ago**

 

Setting – you are under a dome and you have limited resources with disaster after disaster hitting. Eventually, with no point in sight of the dome lifting, there is a good chance you will run out of food and die. Obviously the leaders, any leaders, at this point have to make tough decisions. No one wants a population to starve. SO let’s talk about what happened specifically with Rebecca and Jim.

 

Let me start with Rebecca by saying that it’s easy to hate her following this episode. She Alice_Ep_4_Season_2_Page_Picturehas since redeemed her crazy-self a little, but I don’t forget Swine Flu Roulette very easily. Rebecca, aside from her personal Dad issues (“Sometimes there are no answers”, right?) takes a stance that she is going to play the part of nature/God and thin the population via a strain of swine flu. **Pan to shot of Harriet’s baby, Alice ** As her sinister plan unfolds we, the helpless audience, realize that this means potentially killing off people we love – Harriet, Alice the second, Andrea! – and the already traumatized and beleaguered residents of the dome. With the support of Big Jim, Rebecca goes to unleash the virus in the holy water in the church. **Pan to shot #2 of adorable cooing baby Alice**

 

 

In fairness to Jim, he was duped. Rebecca convinced him that he was the one that was in control and had to release the virus even knowing that he wouldn’t do it. Rebecca, in the end, also stops herself, though her reasoning is the strength of the virus and not the people of the town.

 

Jim “You want me to play God?”

Rebecca “You said you wanted to see who could carry their own weight. This is how. It’s not God… it’s, it’s Darwin! It’s survival of the fittest.”

 

Two questions arose instantly for me:

  1. Who the hell does she think she is?
  2. How do you adequately measure the worthiness of lives to save?

 

I won’t spend much time on question one because you all can answer that for yourselves. Question two, however, is interesting. We can’t say that Christian principles have never made room for killing or “letting die,” but from the camera shots of the baby Alice’s life, to the final battle ground of the virus being in the church, it seems that the “Christian” thing to do and Rebecca’s “Saviors for Science” stand on opposing sides. It is true that Harriet is overheard saying,

 

“Sometimes there are no answers, Tom, try to have faith. We’ll get through this together,”

 

but isn’t that exactly Rebecca’s point? She wants solutions, not pandering. There are, however, fine lines here that Rebecca is crossing.

 

Nature, if the dome is not lifted, will deal first-hand with the population problem through starvation. People will naturally get sick, people will naturally die. All of the above will happen whether Rebecca plants the virus or not. Her argument of mercy takes each person’s free will and plucks it out of their hands by another human being deciding that they will take population control into their own hands.

 

Rebecca could indeed call it Darwinism or even Utilitarianism since she is apparently trying to save at least a portion of the population from starvation. While these principles in other cases in time may have worked, was it right for Chester’s Mill?

 

Rebecca PineRebecca “A virus is nature’s way of leveling the playing field…. It’s merciful.”

 

Nature, God’s creation, has the ability to sift through populations without human interference. To Harriet’s point, we as humans are unable to understand fully the divine cosmic order. Many theologians have written and discussed analogical imagination, metaphorical speech, cataphatic and apophatic language – all these being ways that human beings, unable to understand on God-Term can interact and know the divine.[1] For those who would identify as believers, the mystery of suffering, death, love, and of God is something we strive to accept gracefully.

 

The language used throughout the episode Revelation that speaks of Big Jim as God, of deciding mercy, of Darwin versus the church, points to the town under the dome as a potential new creation. It is it’s own context, away from the outside world. A context in which God can be buried and resurrected in the form of Big Jim. Julia, is clearly in favor of democracy, though her plan seems to be flawed as well with people revolting. It will be interesting over the next few weeks to see how the balance shifts and to see the new Revelations to come.

 

 

 

 

 

 

[1] See David Tracy, Elizabeth Johnson, Augustine, etc. 

Carnivàle: The Apocalypse is Here / Part 2

We come to you this week with a short, but important, second segment on Carnivàle. The sides of light and darkness have each been chosen, though the lines are arguably less clear throughout the series. In one of Knauf’s more brilliant moments, “light” creatures and “dark” creatures are never a cartooned version of themselves. In other words, they each exhibit and inhibit essential qualities of the other. Ben has a dark side just like Justin has a light side. Humanity tends to like paintings with broad strokes, essentializing and sometimes demonizing qualities of the other when in actuality we should be talking always in a multi-dimensional dynamic way about each other. Read on readers and see what unfolds in Knauf’s tale of Apocalypse!

Carnivale - Season 2

As season two opens, the audience is brought back to the story with the words of Brother Justin: “As God has tested Job, so too have we been tested brothers and sisters.” Knauf explicitly uses biblical references for his second season opener. This imagery of suffering, and of Job’s tragedy, re-centers the audience with an apocalyptic mind set; the end is coming. Knauf brings out the suffering of this time period well. As this opening episode, “Los Moscos, NM”, of season two progresses, the audience witnesses Ben in one of the nuclear bomb tests at Alamogordo, NM. When the bomb historically detonated, it was compared to something like the creation of the world or the second coming of Christ. As the bomb explodes in the series, everything is obliterated, but as the dust settles, Ben’s and Justin’s crouching figures remain. This scene serves not only as an apocalyptic tag for the series, but also creates a map within the storyline as Alamogordo will be Ben’s next destination. The result is the link of Ben’s journey toward Alamogordo, a place fraught with man-made peril, and ultimately one step closer to Justin, who represents the ultimate end. As Ben comes out of his vision, a character yells to him that he cannot run from the inevitable fight or millions will die.

Knauf also expands the apocalyptic and biblically related characterizations underpinning Brother Justin and Ben during season two. Justin, whom the audience first comes to know as a holy man, is rapidly changing into a demon. Uncertainty surrounds Justin’s true nature, however, until he addresses his ministry in a sermon,

 

“I now realize that you are not here to hear the words of other men. You are here for me. So that I am not alone in the garden. ”

After the bishops try to regain control of their rogue minister, Justin takes a stand and declares himself the snake to the people of Eden. Knauf has fully revealed Justin as the antagonist and the beast in his own Revelation.

The association of Justin as devil and Ben as savior is not only carefully written within each episode, but also works masterfully with the progression of three specific episodes in season two. Rodrigo Garcia, the director of Carnivàle, says of the two characters,

carnivale-after-the-ball-3

“Obviously one of the main themes is the conflict between good and evil… Another extremely interesting theme is the theme of identity. Both leads — Ben Hawkins and Brother Justin — they’re haunted by their powers, by their dreams. ”

The epic battle between Justin and Ben takes place in a cornfield in New Canaan. Both of the characters – Ben armed with a dagger, Justin with a scythe – draw blood from one another. Ben plunges the dagger fatally deep into Justin. Ben, also wounded, is soon dragged away by the carnival troupe for a quick getaway. As they pull away, Sofie walks into the field. The shot pulls out, and the audience sees the cornfield rapidly dying around her. In the final scene, Ben lies unconscious in Management’s trailer. Knauf’s final vision for Carnivàle leaves the audience with many questions. Sofie, who discovers her own ability to heal by touch, chooses her fate and heals Justin. Ben, who has no one to heal him, suffers in the trailer. There is no conclusion as to whether or not Ben lives. Does Knauf intend to show that the battle between good and evil goes on indefinitely? Is there hope for a new tomorrow? Clancy Brown, the actor who portrays Justin, summarizes the thematic heft of Carnivàle in an interview,

 

“This is the story of the final confrontation, between these two entities, the final battle between God and Satan, for the soul of man. And, well, we are the products of that battle. So, you decide, who won or who lost. Are we creatures of light, or are we creatures of darkness? ”

 

The ultimate ambiguity leads the audience into a frenzy of unknowing.

 

Co-Written by: Seth Alexander and Erica Saccucci