Follow the following and be sanctimonious and a killjoy – at no cost.
The girdings of advertising narrative and image are nothing to be ashamed of – especially when the rights of half the population are at stake.
Doubts are divisive – they smell, they show, and they are unsightly.
They cause a breakdown of trust.
And lead to poor self-esteem and body image irredeemable through attention to advertising.
Or critical reading – that has been shown to make confidence in social leadership plummet during puberty.
Adam Curtis—perspicacious frontiersman in the post-truth world—has a new documentary.
He could call it, with an unusually long and revealing name: “Running Like an Ad – for office, for a cut, and for a pack of Well-Being”.
It centres around an appropriate international airport, a communications hub now presently seen often on television in the Seventies in decaying flashback – specifically the baggage reclaim where travellers recover their personal effects after a hijacking.
In the story, Curtis for the first time shows his techniques and secrets and where he found them.
And that he is unashamed.
Of his gentle, compassionate, patrician voiceovers—that run so smoothly, like the High Sierra operating system on my Apple iMac—and everything else.
Because they in themselves are a fetching kind of commentary on The Way Things Are.
And so should he be proud – if he inspires people to run like themselves, to take off, like free agents, in the cause of change.
Looking at it charitably, Curtis, another casualty of a pernicious, demeaning culture, doesn’t believe in himself but is wryly mirroring the very methods of media and governance and “destabilisation of perception” he
promotes. (Sorry, that should be “exposes”.)
And at great length and depth.
Those boasting an attention span most probably feel flattered by their ability to decode Curtis.
Flattered – rather than embarrassed at an infatuation with his sterile, clean—but fragrant—and disposable documentary sanitary towels that mask any unpleasantness, smells, messy bodies or details and impart a sense of social and intellectual mastery and a freedom to rag lesser beings not in on Adam’s secret.
As with our friends and social thought leaders at Always and Bodyform, does Adam Curtis’ audience understand his work as a rascally simulation of dissimulation in a good satirical cause?
Or as sly in-gags – running at and hitting on you like an agency, and then rogueishly running off all the way to the bank?
Look like a Curtis – it’s the way you see ’em and then tell ’em.
But this is not a fantasy.