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The Babbling Sound of Cognitive Silence

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Jonah Goldberg considers Donald Trump's relationship with the truth, and finds it ... absent:
In the immediate aftermath of Pretti's killing, members of the Trump administration took to TV and social media to describe Pretti as a "domestic terrorist" and an "assassin." Gregory Bovino, the CBP commander on the ground in Minneapolis, said "This looks like a situation where an individual wanted to do maximum damage and massacre law enforcement." (Bovino has since been removed from his post.) Department of Homeland Security Secretary Kristi Noem echoed the same talking points. Pretti's motive, she claimed, was "to inflict maximum damage on individuals and to kill law enforcement" because he was a "domestic terrorist." White House deputy chief of staff Stephen Miller asserted that Pretti was an "assassin" who tried to "murder federal agents."

The administration is making all of this up. But that doesn't necessarily mean they are lying. They just don't care what the truth is.

In his seminal book On Bulls -- (the actual title isn't censored), philosopher Harry G. Frankfurt argues that lying implies a certain respect for, and knowledge of, the truth. "It is impossible for someone to lie unless he thinks he knows the truth. Producing bulls -- requires no such conviction." What this administration does is worse than lying because they don't care whether something is true or false, only whether it will be believed. [italics in original, links dropped]
While I cannot vouch for Frankfurt's book, as interesting as it sounds, I think the above applies to Trump, whose breathtaking ignorance never seems to interfere with his constant babbling, or the appetite of a certain portion of the population to swallow whatever he says hook, line, and sinker -- or of another to waste its time "fact-checking" him.

Frankfurt's point is similar to, and somewhat reminds me of another philosopher's discussion of arbitrary statements:
Since an arbitrary statement has no connection to man's means of knowledge or his grasp of reality, cognitively speaking such a statement must be treated as though nothing had been said.

Let me elaborate this point. An arbitrary claim has no cognitive status whatever. According to Objectivism, such a claim is not to be regarded as true or as false. If it is arbitrary, it is entitled to no epistemological assessment at all; it is simply to be dismissed as though it hadn't come up... The truth is established by reference to a body of evidence and within a context; the false is pronounced false because it contradicts the evidence. The arbitrary, however, has no relation to evidence, facts, or context. It is the human equivalent of [noises produced by] a parrot ... sounds without any tie to reality, without content or significance.

In a sense, therefore, the arbitrary is even worse than the false. The false at least has a relation (albeit a negative one) to reality; it has reached the field of human cognition, although it represents an error -- but in that sense it is closer to reality than the brazenly arbitrary.

I want to note here parenthetically that the words expressing an arbitrary claim may perhaps be judged as true or false in some other cognitive context (if and when they are no longer put forth as arbitrary), but this is irrelevant to the present issue, because it changes the epistemological situation... [bold added]
Leonard Peikoff's words capture why arbitrary pronouncements are worse than lies, and perhaps offer a guide towards better dealing with what Trump and his similarly cognitively self-crippled minions say: Rather than worry too much about fact-checking them, consider what they intend to accomplish with their words, and look much more at what they have done and might likely do -- and act accordingly.

-- CAV
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gangsterofboats
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Using Your Voice Is Enough

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In moments like this, the question always comes up—what can one do?

Not what must be done, not what will save the republic, just: what is within the power of a single person who is not trying to become a hero, a pundit, or a professional activist.

My answer is simple: using your voice is a lot.

I don’t mean refuting every argument, mastering every dataset, or appointing yourself the final authority on some vast political or moral question. Most people don’t have either the time or inclination for that, and they certainly shouldn’t feel guilty about it. Moral seriousness does not require omniscience.

What does matter is this: stating your values, openly, and saying when the world you see no longer squares with them.

Sometimes that takes the modest form of saying, “When I heard X, it made me stop.”

Or, “This policy unsettles me, and here’s why.”

Or even, “This doesn’t seem right, given what I believe about human dignity, the rule of law, or basic decency.”

People who know you—who know your temperament, your habits of mind, your seriousness—listen differently than they do to strangers shouting on the internet. They know whether you’re impulsive or measured. Whether you exaggerate or understate. Whether you chase applause or avoid conflict. When you say something gives you pause, it gives them pause. When you explain how a concrete event triggered a deeper concern, you encourage others to think through the matter themselves.

That is how thinking spreads. Not through refutation, but through recognition.

There is a temptation to believe that if you can’t say everything, you should say nothing. That if you haven’t read all the briefs, you have no standing to speak. That unless you can defeat the strongest version of every opposing argument, silence is the safer option.

It isn’t. Silence doesn’t preserve neutrality. It preserves the status quo.

To be clear, I’m sympathetic to people who remain silent. Some feel it’s not their fight. Some are dealing with obligations far more immediate than politics. I don’t fault anyone for choosing quiet over conflict. Life is finite, and attention is precious.

But we should be honest about what silence is—and what it is not.

Silence does not change the world. Silence does not correct course. Silence does not stiffen the spine of anyone who is wavering. It simply leaves the field to those who are loudest, most shameless, or least constrained by doubt.

Using your voice, by contrast, requires integrity. It requires saying: These are my values. This is where I’m coming from. This is the moment that made me stop and think.

That is important. It is how moral lines become visible in the fog. It is how decent people recognize one another. And in times like these, that recognition matters more than we like to admit.

You don’t need to win the argument.

You don’t need to end the debate.

You don’t need to speak for anyone but yourself.

You just need to speak.

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gangsterofboats
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“The traditional politician asks for your vote so that they can fix your life, as if they know what you need."

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The traditional politician asks for your vote so that they can fix your life, as if they know what you need. What I say is, I ask for your vote so that I can give you back the power to be the architect of your own life.” 
~ Javier Milei, from his Nov 2024 interview with The Economist
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Are Critics Grading ‘Starfleet Academy’ on a Woke Curve?

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Richard Roeper said what he wasn’t supposed to say about that 2016 “Ghostbusters” reboot.

The veteran film critic suggested his peers graded the Paul Feig reboot “on a curve.” That’s not something a critic shares lightly, and Roeper isn’t right-leaning by any stretch.

He genuinely felt film critics went easy on a film derisively labelled “The Lady Ghostbusters.”

Why? The film’s all-female lead cast made it a culture war battle, and critics adjusted their reviews according. That’s according to Roeper, of course.

And, as fate would have it, the film dramatically underperformed. That led to a more traditional sequel. which fared better, in part, thanks to a smaller budget.

So how does this connect to the current reaction to “Star Trek: Starfleet Academy?”

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The Paramount+ series debuted earlier this year and quickly became fodder for gimlet-eyed YouTube stars like Nerdrotic, Film Threat and The Critical Drinker.

They weren’t pleased.

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YouTube Video

YouTube Video

The new series features a youthful cast led by screen veteran Holly Hunter. The saga boasts an aggressively diverse cast, not unusual for a brand that featured TV’s first interracial cast more than 60 years ago, and an upbeat tone often compared to “One Tree Hill” and “Beverly Hills 90210.”

That’s not a compliment. And, by many accounts, it’s as bad as advertised. And the ratings show it.

Even Collider, hardly a right-leaning platform, spelled out the dire news for the series.

At the time of writing, just three days after the premiere of Episode 3, Starfleet Academy has been ousted from the current Paramount+ streaming charts in the U.S. This is made even more damning when considering the lack of brand-new content providing competition for Starfleet Academy.

Shows like “Criminal Minds,” “South Park” and “Everybody Loves Raymond,” which went off the air more than 20 years ago, are all beating “Starfleet Academy.”

Badly.

The free YouTube version of Episode 1 has fewer views than The Critical Drinker’s takedown.

Tell that to the professional reviewers. The “top critics” at Rotten Tomatoes gave the show a 93 percent “fresh” rating, a stellar mark. Yet general audiences weighed in against the saga, giving it a 43 percent “rotten” score.

Are modern critics grading “Starfleet Academy” on a curve a la “Ghostbusters?”

This critic sampled the first episode and came away thinking The Critical Drinker and Nerdrotic nailed the show’s comical flaws. The dialogue is embarrassing, as are the clunky plot twists and sad fight sequences.

While the show’s “woke” trappings are undeniable, they’re the least offensive elements of the first installment.

Now, art is subjective, but a show like “Starfleet Academy” appears hard to rally behind. So why are so many critics doing just that?

This review snippet from Variety’s rave feels … telling.

To ensure the franchise lasts at least another 60 years, it must reflect our actual world. There must be space made for queer identifying, multi-heritage and mixed-race characters. It’s clear in many ways (on television and in real life) that the old guard has long dropped the ball. As “Starfleet Academy” declares, it’s now up to a new generation to fix the mess they’ve inherited [emphasis added].

Over at the far-Left Pajiba, the scribes declared the bad audience reviews to be “review bombing” (because any show critics like can’t be challenged by the great unwashed). The site also says it’s now a “must-see” show due to said bombing.

Tell that to Paramount+ subscribers, who prefer a decades-old comedy to this kind of “Trek.”

This Pajiba paragraph, once more, is telling.

Think of it as a post-Trump America analogue: there is a great deal of work to be done to regain the world’s trust and reestablish ethical leadership. Starfleet Academy is, at its core, a school designed to teach people how to act right again.

Grading on a curve … again? You decide. 

The post Are Critics Grading ‘Starfleet Academy’ on a Woke Curve? appeared first on Hollywood in Toto.

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gangsterofboats
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Should Studios Keep Hiring John Leguizamo?

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Actor John Leguizamo is well versed in Hollywood virtue signaling.

The actor routinely weighs in on political matters, from large issues to minor ones tied to Identity Politics.

One example?

Leguizamo cried foul over the “Super Mario Bros.” animated smash. He argued the studio “messed up the inclusion” with its casting choices, like hiring a straight white male, Chris Pratt, as the main character.

This … is different.

Leguizamo posted a rant on social media this week demanding that anyone who disagrees with his views on ICE and immigration enforcement should stop watching his films.

All his films.

“If you follow ICE, unfollow me. Don’t come to my shows, don’t watch my movies.”

IMDB.com lists 167 credits for the 65-year-old actor. Impressive, no? His body of work speaks for itself, including work with legendary directors like Spike Lee (“Summer of Sam”) and Brian De Palma (“Carlito’s Way”).

It’s also a long list of projects center-Right audiences should suddenly avoid, by his decree.

That includes “The Odyssey,” director Christopher Nolan’s epic considered by many as the year’s most anticipated release.

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A lot is riding on that film. Every Nolan release is an event, and given how well the director’s 2023 film “Oppenheimer” performed, the studio expects “The Odyssey” to make a considerable profit.

What if the actor’s wish is fulfilled? What if a not insignificant number of movie goers comply? More importantly, what about his future projects?

“The Odyssey” has a built-in audience, so it will likely shrug off the actor’s command. He still works in films both large and small, the latter needing all the eyeballs they can gather.

Would an indie studio rush to hire Leguizamo knowing he’s actively telling fans to avoid his films?

Movie studios spend millions to promote new titles. Actors speak to news outlets and podcasts to spread the word about their latest projects. Marketers plot ad campaigns to maximize awareness in an increasingly crowded marketplace.

And Leguizamo is telling select audiences to stay far, far away from his work. How well will that land within the Hollywood ecosystem?

This isn’t relegated to Leguizamo. Artist after artist is pulling back their work to protest President Donald Trump’s overhaul of the Trump Kennedy Center.

Artists are increasingly at war with consumers, either lecturing them to vote like they do or pulling their work from right-leaning platforms and venues.

Few have been as bold about it as Leguizamo.

The post Should Studios Keep Hiring John Leguizamo? appeared first on Hollywood in Toto.

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gangsterofboats
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NFL Deflates: How Was 8 Super Bowls Not Enough for Belichick's Hall of Fame Bid?

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