Part IV of an article series examining themes from the British dystopian series Years and Years that have become pertinent following the Russia-Ukraine War.
Parts I, II, and III of this article series examined the various societal and international themes derived from the prophetic fiction series Years and Years, specifically those that have become ever more pertinent due to the Russia-Ukraine War and its emergent consequences. Respectively, the themes discussed were Refugee & Housing Crises, Nuclear Attack & World War, and Financial & Employment Crises. Furthermore, this particular succession of socio-international themes was shown to comprise a logical chain reaction of crises that can be traced through the series’ narrative, implicitly when not explicitly. Part IV presents the culmination of this chain reaction of developments in what can be thought of as their sociopolitical ‘endgame’ and the ‘comeuppance’ of accumulated follies: neo-fascism*.
*To avoid ambiguity in using this term, the Wikipedia definition will suffice here: “Neo-fascism is a post-World War II ideology that includes significant elements of fascism. Neo-fascism usually includes ultranationalism, racial supremacy, populism, authoritarianism, nativism, xenophobia and anti-immigration sentiment as well as opposition to liberal democracy, parliamentarianism, liberalism, Marxism, capitalism, communism, and socialism.”
Part III of an article series examining themes from the British dystopian series Years and Years that have become pertinent following the Russia-Ukraine War.
Part I and Part II of this article series discussed the themes of housing crisis and limited nuclear war, as represented in the prophetic fiction series Years and Years and in relation to the ramifications of the Russia-Ukraine War, both primarily with concern to British society. The theme explored in Part III is one emphasized in the second episode and remains a consistent theme throughout Years and Years: Economic Collapse. In fact, the series shows multiple economic crises to be indirect effects of the nuclear attack, thereby suggesting the consequences of an equivalent action in the real world; and more specifically, the political (re)action to it and the ramifications of such an action.
Part II of an article series examining themes from the British dystopian series Years and Years that have become pertinent following the Russia-Ukraine War.
Part II of this article series begins by establishing the concept of Limited Nuclear War and highlighting its enduring significance as a sociocultural theme. I then examine the depiction of limited nuclear war in the British prophetic fiction series Years and Years, the predictive significance of which being the basis of this article and series. From this context is presented the following thesis: that the international developments ensuing from the Russia-Ukraine conflict are likely to provide the catalyst for the fulfilment of the nuclear threat born from the Cold War—specifically, in the form of limited nuclear war.
Part I of an article series examining themes from the British dystopian series Years and Years that have become pertinent following the Russia-Ukraine War.
In Part I of this article series I discuss the theme of Housing Crisis as depicted by the British prophetic fiction series Years and Years, examining its predictive significance in relation to the wider ramifications of the Russia-Ukraine War, specifically those of direct concern to British society.
British Housing Crisis
In Britain (perhaps even more so than in Europe), the most immediate and striking development of the Russia-Ukraine War was the appeals and then arrangements for the mass asylum of Ukrainian refugees, which transpired even faster and more fervently than I had anticipated (as mentioned in my previous article: Russia-Ukraine & ‘Years and Years’: Prophecy Rising). Of particular interest here concerning this ongoing development – and testament to the gung-ho humanitarianism at its basis – is the quickly-emerged subplot of volunteer refugee housing, whereby the portrayal of British citizens’ eagerness to welcome Ukrainian refugees into their homes at no cost is heavily featured in the news. Soon enough, the Media’s theme of the Public’s generosity was converted into an official Government policy of subsidized sponsorship: the “‘Homes for Ukraine’ scheme” (launched on March 14th).
A follow-up on four predictions from the prophetic fiction series ‘Years and Years’ most relevant to the wider ramifications of the Russia-Ukraine War; beginning an article series expanding on this significant yet overlooked topic.
The Russia-Ukraine War and the Prophetic Fiction ‘Years and Years’ began by examining the prophetic content and praxis of the 2019 BBC mini-series Years and Years, so as to highlight the general cultural significance of this televised fiction. From this context I identified four specific predictions (sections linked below) made by the series that are most pertinent to the manifestation of the present war and its most likely ramifications:
As of writing, the first two of those four predictions were and continue to be of immediate relevance; the third prediction has shown indications of being inevitable; while the seeds of the fourth prediction could well have already been sewn by the Western reaction to the war. This follow-up article re-examines these four themes in light of what has transpired since I introduced them; and begins a series of articles that each introduce and discuss an overarching societal theme and subthemes derived from Years and Years, thereby expanding upon the thesis of the original article. I shall, in other words, identify more of the predictions casted through Years and Years and specifically those I consider most relevant to the potential ramifications of the Russia-Ukraine War, in each case revealing the essence of this relevancy in relation to the present state of the world.
The Russia-Ukraine War (2022) as highlighting the significance of the prophetic BBC-HBO mini-series Years and Years (2019).
In mid-late February, reports of Russian intentions to invade Ukraine began to occupy the news media—upon which one thought immediately came to my mind: Years and Years.
For those who have seen this 2019 mini-series, its relevance to what is now the Russia-Ukraine War should already be apparent, particularly to residents of the UK, since the show is primarily oriented towards developments in Britain. In this article, I first offer a summary of why Years and Years is generally significant, before revealing the specific details that directly relate to the currently developing Russia-Ukraine War and its wider ramifications.
What’s the meaning of this? Who’s to say? (Certainly not me…)
I don’t know what this is. Maybe it’s an inane mixture of things. Or something novel and deep. Guess it depends on who (or what) is reading it. Maybe it’s nothing but with something in it. Or something but with nothing in it. It’s not for me to say, even though I’m the author. Actually, because I’m the author. Just technically ‘the author’. See I wrote this here thing, I did, but who’s to say I am the authority of its meaning? (That question may or may not be rhetorical, according to preference.) As a matter of fact (technically just an expression, BTW), it’s each reader that decides the meaning of what(ever) he/she/it is reading, as determined by the law of Intertextuality (and quite authoritatively at that, FYI). See, this fantastic law ‘deconstructed’ (as it likes to say [not that I really know what it means]) the myth of ‘authorship’ by revealing that the actual producer of meaning is [drumrole]… thereader! Ergo (just using this word ‘coz I like how The Architect said it in Matrix 2), each ‘meaning’ is equally valid(praise the law of Equality!)—and, ergo, implicitly untrue. Case in point: commenter says this “post” is “garbage”. Therefore, he/she/it (‘they/them’ from now on) is actually right on both counts—provided only that they meant what they said. Then again… …what they said might be totally untrue—who knows? (Rhetorical?—who knows?)
An uncut, feature-length discussion about the movie medium; packed with bonus content––and LOTS of movies.
Part 1 Embedded-Archetype Recycling
More so than any other medium, the motion picture – also known as film, cinema, and most commonly, movies – has the capacity to convey ideas and themes whilst bypassing the viewer’s awareness of having done so; meaning that even the reception of the content generally remains unperceived, i.e. let alone its affect and techniques thereof. This principle can be observed by the substratum of archetypal themes from which movie* narratives are constructed upon; by the industrial recycling of these archetypes, evident in movies that are differentiated by time and genre; and by the common obliviousness to embedded elements and the pervasiveness of this practice.
*Although most of this article concerns movies, the discussion generally applies to television fiction too, particularly since it has become more cinematic in recent years. Movie narratives, however, are the primary form of embedded-archetype recycling.
I have termed the principle behind this practice ‘embedded-archetype recycling’, where “archetype” refers to a type of character or theme that is ancient, or at least pre-modern (hence being adapted into modern form); where “embedded” refers to the concealment of the archetypes within the overt narrative; and where “recycling” refers to the institutional practice of reapplying these archetypes to the narratives of “new” movies (hence, archetypes pervade the medium irrespective of era divergences and genre differences between movies).
An analysis of a psychology documentary based on the work of Prof Daniel Kahneman (—and not without a touch of sarcasm! 😉 )
The 2013 Horizon Documentary (BBC) How You Really Make Decisions features several psychologists providing their insights on this theme, most prominent of which is Prof Daniel Kahneman, whose best-selling book Thinking, Fast and Slow serves as the basis for the programme.
A discussion of the role of the Conductor in both music and society, beginning with my casual impressions (complimented with satirical examples); and followed by critical insights from a socio-musicologist, as well from conductors and composers themselves.
Although I have yet to acquaint myself with orchestral performance, which does interest me; the passive familiarity I have with it has nevertheless left me with a particular impression—specifically, regarding the role of the Conductor, which appears to be strikingly suspect. Upon casual contemplation, I had formed some substantial thoughts about it, from which I felt the subject would be would worthwhile to investigate one day. And due to this question of the Conductor being brought up by someone in a group conversation, that day eventually arrived.