Cool is just cutting edge conformity. This is a blog about culture, film, television, and story telling. Plus whatever else crosses my semi-functional simian brain. More art can be seen on www.jtillustration.com
Tuesday, 14 June 2022
The Way Back (2010)
Monday, 13 June 2022
Kenobi vs. The Boys
Comparing two properties, even very different ones, as they unfold can be really instructive in terms of understanding what works and what doesn't; I tried it before with Peacemaker and The Book of Boba Fett.
(I get the impression that Star Wars is spiralling down into itself, with story after story endlessly revisiting old characters. Pre-teen Palpatine and Chewie's Wookie Cub Playhouse can't be far behind.)
Both Kenobi and The Boys are action / adventure. Kenobi, however, is quite obviously aimed at kids, while The Boys is very adult. VERY very adult. Trust me, you do NOT want your children watching it. Which reminds me they made an Alien monster toy, back in the day, for kids... for an R-rated film they should not have been able to see.
The Boys is more my cup of tea. It's filled with scathing social commentary, pushes boundaries (this is a two sided sword, as vulgarity, obscenity and gratuitous violence can be both needlessly unpleasant and shock value can become a crutch), has well developed and motivated characters, and the villain, Antony Starr, is phenomenal and brings much needed nuance to Homelander.
In fact, everyone on The Boys is fantastic. There's not a weak link among them. Karl Urban, Jack Quaid, Erin Moriarty, Karen Fukhuara, Tomer Kapon, Laz Alonso... they're all absolutely fabulous, although arguably Moriarty hasn't had as much material this season (so far). It's got to be difficult juggling such a large cast of characters. And yet, they are all much more rounded than the characters in Kenobi.
This may be a function of the audience the show is aimed at. Kenobi is simpler, more direct narratively if not technically (it looks astonishingly good). It is very 'cute': Leia Lulu is chased in one episode by bounty hunters who are obviously going slowly, to not catch her, like parents faux chasing their kids. It's so obvious it took me out of the narrative. For children, however, that may not be a bug, but a feature.
I greatly prefer the staging in The Boys. Kenobi fights feel more like what you'd see with little kids playing: henchmen running onto the stage to be immediately gunned down, like ten pins.
On the other hand, The Boys can be gratuitously gruesome. To me, this makes violence more horrific and impactful. Kenobi sanitizes killing. There's no blood at all.
Which is better? Which is worse?
There is a tremendous amount of violence in our TV and film productions, with heroes like John Wick mowing down hundreds of nameless disposable drones in every outing. It does give me pause. Arguments swirl around whether it encourages mass shootings. Virtual carnage in video games has not impacted rates of violence and, despite being counterintuitive, could actually be reducing them. I've been recommended the book Moral Combat by psychologists Patrick M. Markey and Christopher J. Ferguson, but not read it yet. Too much to read!
Strange things that happen in Kenobi: our eponymous hero makes mistakes you'd think he'd be far too smart and experienced to commit (such as blurt out Leia's name in front of stormtroopers, or immediately surrendering when faced with three troopers, after just easily killing three plus a deadly probe droid). And is it not a continuity issue for Kenobi to have a space phone in his cave? Why didn't Leia just ring him up in A New Hope?
The emotional beats in The Boys are more impactful, whereas Kenobi's feels forced (heh). Again, this could very well be because it is aimed at children. On the other hand, when I was a kid, I never liked it when a show talked down to me.
Writing for kids is such a challenging juggling act.
I don't mean to imply I could do better. Criticism is easy; it's creating that's hard.
Writing for Disney, especially on such a massively important, high profile and EXPENSIVE property must be an exercise in pressure management. Trying to integrate all the disparate corporate voices and interests (and, let's face it, merchandising) into a really compelling script... that's insanely challenging.
Sunday, 12 June 2022
Ten years of Cutting Edge Conformity
It was a good run.
Time to celebrate: I've had this blog for exactly ten years, as of today. My first post was a review of Prometheus. The scary thing: it doesn't even feel like that long ago.
After deep, soul wrenching contemplation, what have I learned from blogging?
1) I don't edit enough.
2) It is impossible to reach the point where I no longer feel the itch to edit.
I am in an eternal struggle against filler words and pointless phrases, which regularly slip into my prose, seemingly unbidden, forever frustrated by smooth flowing sentences that remain out of reach. Also, purple prose.
But it's been good exercise.
I've written numerous movie and TV reviews; not what I set out to do, but I fell into anyway. And then mostly fell out of: my opinion isn't relevant, I'm (usually) not the target audience, and there's enough negativity out there without me griping. I've consumed so much television and film, especially over the Covid lockdown (Toronto had one of the longest in the world) that I'm now unquestionably spoiled and jaded in my TV tastes. It would be better to focus strictly on material I still find inspiring.
On the other hand, that would require mental energy.
In addition to Cutting Edge Conformity, I created a number of 'sub-blogs', for specific properties, such as Theo Paxstone, Rebel Angels and Max Zing. There's even a blog for Nil, which I posted in a grand total of once.
And then there's the blog for jtillustration which... honestly, I'd completely forgotten about.
Social media has long overtaken the blogosphere, but I don't mind posting, from time to time, in my happy little backwater.
Here's to another 10 years!
Heh. Maybe not. It may be time to pack it in.
Everthing changes.
Friday, 10 June 2022
The best villain on TV: Homelander
Take a powder, Freddie.
Have a nap, Jason and Alien Queen and Mindflayer.
Homelander is the best, in the most awful, horrible, nightmarish way possible, villain on TV.
Hands down.
(And yes I know the others are mostly movie villains, but they're streaming now)
They've been building up this malignant narcissist for 2 seasons, and now he's blooming into his full, monstrous self. The training wheels are off, and he's being his best worst self.
Emperor Palpatine, as great as Ian McDiarmid is at chewing the scenery, is a mere vaudeville villain, a moustache twirling trope by comparison. There's no motivation behind Ol' Palpy's desire to be evil and rule the galaxy.
Homelander? He wants to be admired. He needs it. That's the only thing between him and lasering millions. And you get the character. He comes across as a fully realized monster, his deep rooted insecurities and egomania driving the plot like an Indie 500 pro.
From the chilling scene, back in season one, where he refuses to save even one child passenger from a doomed passenger plane because it'd ruin his f*cking image, to his recent shenanigans to seize power at Vought, his evolution is frighteningly believable.
Antony Starr's performance has been consistently amazing, across all three seasons. He sells insane rage behind a big, bright and fake smile. You believe this is a guy on the edge, ready to slip into obscene violence at any moment, at the slightest provocation.
The world of The Boys walks on egg shells around Homelander. He's like that super powered psycho kid in the famous Twilight Zone episode, the one with the powers of a God and the impulses of an angry eight year old.
Only Homelander is smart. Deranged, but smart.
What's particularly good about Starr's portrayal, and the writing team's material, is that people defend Homelander, and argue he isn't a real villain, just, essentially, misunderstood.
Wow.
The Boys continues to mine the superhero metaphor to comment on power structures, society and cynical facades.
Season 3 wasn't quite doing it for me until Episode 4: Glorious Five Year Plan. That was some seriously disturbing television, and I'm dying to see where the writers take it next.
I imagine the title pertains to the NEP, the Soviet five year economic plans. The second one, from 1933-37, pushed collectivization and resulted in the deaths of millions of Ukrainians. Perhaps it refers to the Soviet habit of back stabbing; Stalin frequently triangulated against his rivals (a list that dwindled over time as they wound up shot or with an ice pick in their brain).
I confess I am not sure.
We'll see what next week brings!
Monday, 30 May 2022
The Pajama Apocalypse lockdown watch list
Over the last two years I've craved escapist entertainment.
Go figure.
I don't read as much since getting tinnitus, so during The Great Covid Lockdown I consumed copious amounts of noisy TV, and subscribed to multiple content platforms. Too many. There's a mind blowing amount of material to choose from.
Even if 90% of everything is crap, as the maxim goes, there's just so, so much, we can drown in the fabulous.
And there's no question: the work of all these talented creators, writers, actors, directors and crew helped millions get through the pandemic.
Praise be to the arts!
On the other hand, I have become thoroughly spoiled and jaded thanks to a surfeit of lavishly produced entertainment.
These are the shows that got me through:
Law & Order (Original flavour, SVU and Criminal Intent)
This long running procedural (20 plus years) has literally thousands of hours of content. Amazon Prime carries half the seasons of each iteration. The shows predictable format was comforting, in a weird way, during the early pandemic, and it's an easy show to just leave on in the background while you draw. Solid time waster, but gets weaker as the seasons stretch on.
Deep Space Nine *
Watched the whole thing, start to finish, every episode except for a couple Quark focused ones which were too cringe inducing. I’d never seen it all before, and there were holes in my understanding of the grand arc of the later seasons. At 126 hours of content, it took almost 4 months to get through. Great characters, built up over time and then thrown into a grand Dominion War arc. Lots of well grounded character humour which doesn't undermine the dramatic aspects. Worf, Odo and Garak are especially good. O'Brien must suffer! More here.
Voyager
Watched a good chunk, but not all. Skipped many episodes from the first 2 seasons; I hate the Kazon, they’re both annoying and boring. Voyager (like Next Generation and DS9) gets seriously good starting in season 3.
Enterprise
Decent Trek, but not a favourite. The characters aren't as a colourful or compelling as on DS9. There are season long story arcs I’d never seen; lockdown presented the time to do so. Overall, satisfying.
The Expanse *
Insanely good, compelling, gritty sci-fi. The Expanse is as close to realistic as any sci-fi epic has ever gotten. It also complex and demands focus from its audience. Not easy to get into, but well worth it. The only down side: it's based on a series of books, and they aren't going to adapt the final three. Also, it was filmed in Toronto, my home town, and some scenes were shot near where I live.
Think superheroes as sports team franchises. Scathing satirical fun. Also gratuitously gory and vulgar. I loved it. Shot in Toronto, too, so there's the added joy of spotting familiar locations. The Boys dives into the sickness and corruption of a celebrity culture run amuck. Unbound and egotistical (anti-)superheroes behave as badly as you'd expect Greek gods to.
Invincible *
If you need more subversive, satirical superhero fare (and who doesn't?), Invincible deconstructs what's left. Didn't expect much from this show, and came away seriously impressed.
Better Call Saul *
Dark, angsty and depressing, yet I couldn’t stop watching. The characters are nuanced, incredibly well realized, and drive the drama. A show worth studying.
Barry *
Twisted tale of a contract killer who decides he wants to become an actor. Dark and sardonic. The show manages to get you to actually root for a mass murdering sociopath. He's also frequently cringe inducing; think Larry David... if he was an amoral serial killer.
Raised by Wolves *
I still can't believe this mind blowing, batshit insane series was ever given the green light in the first place. People spent a serious amount of money on this, and it shows: it's gorgeous and eerie and possibly the weirdest show ever made. I love it: it's got atheists vs. Mithraic fundamentalists, climate apocalypse, android weapons of mass destruction that do double duty as nannies, flying snake babies and people turning unexpectedly into trees. A must see. Of course, it's been cancelled. This makes me sad.
The Queen’s Gambit *
Surprisingly interesting tale of a comely chess nerd, backed by solid emotional wallops. The lead actress is phenomenal.
Tales from the Loop *
Another gem, especially the finale directed by Jodi Foster. Contemplative sci-fi without an explosion anywhere to be seen. Based on a series of paintings. More about it here.
Bojack Horseman *
Pretty much defines dark, depressing humour. Harsh but painfully funny. Couldn't finish it. Will revisit.
The Witcher *
A monosyllabic Henry Cavill slices and dices weird monsters in a time jumbled tale that’ll have you scratching your head. Addictive, with incredible fight choreography.
Russian Doll (first season) *
Takes awhile to get into, but the payoff was worth it and the show has something to say.
Dirk Gently (first season)
Zany and idiosyncratic, this show's bonkers fun.
Squid Game *
This show takes no prisoners. First it gets you to connect and empathize with the characters, then puts them through sheer, unrelenting hell. Brutal and unsparing in its commentary on class conflict. Something I've learned to expect from Korean dramas.
All of us are dead
More Korean class conflict, this time through the metaphor of a zombie plague outbreak at a posh high school.
Archive 81
Creepy, atmospheric, and full of foreboding, the spell is only broken when a CGI demon shows up. First season ends on a cliff hanger, and it's been cancelled. So...
Cobra Kai *
A wonderful, guilty pleasure. Think teen soap opera meets musical, except instead of musical numbers breaking out, karate fights do. I'm amazed the kids (and more than a few adults) aren't all in prison. Has better fight sequences than those in Matrix Resurrections. A lot of humour is mined from the nature of the characters, without undermining the dramatic aspects of the show. Oh what am I saying: it's increasingly ridiculous but damnit I love it.
Black Summer *
A harrowing fast zombie apocalypse that's almost, almost, an anthology series. Characters intersect, then spin out into their own stand alone episodes. The survivors also make plenty of mistakes and have appalling fire control, resulting in (naturally) more zombies.
To the Lake
The zombie apocalyspe, Russian style. Bleak and cynical, especially regarding the behaviour of the authorities. Also a family drama. D'aw!
Devs *
Stylish in the extreme, it's an unexpected gem on Disney+ that I'd never heard of before. Some may find it almost pompous, but I thought it was fascinating. Fantastic, striking art direction, unlike anything else I've seen, extremely moody and carefully paced. Give it a watch, you won't be sorry.
The Mandalorian *
A simple story about a bounty hunter and a little green troll baby. The most mind blowing thing about it is The Volume, or Stagecraft, or whatever they call it now: an almost 360 degree video wall enclosure on which you can run full motion backgrounds using a video game engine. Allows actors to see (and react to) the imaginary environment, as opposed to big blank green screens. Also speeds up the production process and casts the actors in convincing natural light.
Book of Boba Fett
A simple story about a bounty hunter who decides he wants to be a benevolent, kid show friendly crime lord. You know, extort, blackmail and murder people, just with respect. Veers off the rails and gets taken over by The Mandalorian for two episodes. Unparalleled production values, but the characters are thinner than cardboard and there's not a motivation to be seen.
Peacemaker *
Smart, satirical superhero deconstruction, it has everything Boba lacks: characters, character arcs, character motivation, sharp humour and heart. Also two sociopaths and a psychopath. Watch it. I yammer on more about it here.
Wandavision
Starts out strong with an intriguing concept and lots of mystery flying around. I was hooked! Unfortunately, the resolution was disappointing CGI stuff.
Loki *
Loved the absurdist humour and ultra-powerful TVA, a dysfunctional bureaucracy that manages time itself. Very stylish, with catchy music, graphics and quirky characters. Owen Wilson and his jet ski ambitions were especially endearing. The finale felt a little flat to me, and there are some creepy aspects to multi-Loki romance, but overall it was a ton of fun.
The Falcon and the Winter Soldier
The action sequences are right out of a Jack Kirby comic book, but the story was confusing. I didn't get the motivation of the villains.
Punisher (season 1)
Revenge porn (the other kind), but with an anti-hero-quasi-superhero. Rather grim, and I'm not inclined to watch season 2. One sequence that intercuts intimacy with torture is especially bizarre.
Greatest events of WWII in colour
World War II documentary, easy to watch in small chunks.
I did watch a few other documentaries sporadically, but I can't remember specifically. Some true crime, economics, cryptocurrency, yada yada.
I went very heavy on sci-fi and superheroes.
Overall, the list feels short for 2+ years.
Law & Order alone, however, has a massive amount of programming. I remember thinking early on in the pandemic that I might make it all the way to the first vaccine roll out with just Law & Order alone.
Now?
I feel so burned out on TV.
Thank God things are opening up again.
Saturday, 21 May 2022
A new book
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| Could it be about a family of cats? |
This one has been a long time in the making.
I started it over 10 years ago, as a TV show pitch. At the time, I was experimenting with screenwriting and comedy skits, taking classes in both, along with improv. I had a writing partner in Berlin, and we pitched our shows both here and in Europe, to places like Disney and Sony.
Nothing got anywhere, not really.
I had some options, and got called in to pitch a few times.
One screenplay morphed into a prose novel.
This one, I'd written a pitch doc, backed up with a pilot episode. I'd written pitch scripts for already existing shows, but this was my first go at a pilot.
Writing for TV is akin to poetry. Every. Single. Word. Counts.
Everything is connected.
For me, that was part of the problem.
When you get notes on a finished script, if your craft isn't up to snuff, they can be extremely hard to implement successfully. Often changes will introduce a slew of logic holes.
TV shows, believe it or not, are generally very tightly written. If you change one thing, it's like pulling on a sweater thread which unravels the entire garment. One change impacts everything else, causing a cascade which launches an avalanche of revisions.
At the outline or treatment stage, I can handle that well enough. But with a 'finished' script?
So I wasn't entirely happy with the pilot. I'd rejigged it on the advice of professionals, but wasn't able to implement the changes smoothly. The script was now... bumpy.
My craft needed work.
I went back to this particular idea because I'd invested so much in it, and never had any resoultion. It stuck in my head. After letting it lie dormant for a few years, I resurrected it as a graphic novel.
I'd burnt out on comics around 2014, and had little interest in illustrating the book myself. It needed a down to earth style I wasn't sure would be my thing. But there was no one else.
I spent some time dabbling with different looks, trying to find something that might suit the script. That took awhile. Nothing quite fit perfectly. I got too picky. Eventually, I just started, and let the style evolve as I went. Otherwise, it'd sit in limbo forever while I tweaked and fiddled.
A significant overhaul brought the script back to life. I changed the characters, expanded the script into a full, self-contained story, fleshed out the world and added more humour.
Finishing this book has become a creative quest. It's been derailed and restarted several times. A family crisis caused a break in January and I'm only now getting going on it again. I'm half way through. Hopefully I can finish it by the end of the year. Fingers crossed!
Whatever happens, it will be good to finally get it out of my head. I hate when things get stuck in there.
More to come...
Thursday, 19 May 2022
Office worker monster, with coffee
I love the reflection tool in ProCreate far too much, as Monster Office Worker with Reports and Coffees demonstrates. It's so fun!
Makes me feel twice as productive...
Friday, 29 April 2022
Russians foil terrorist plot to play The Sims 3
Apparently terrorists are now targeting virtual reality.
Is nowhere safe from these madmen?!?
Pundits are speculating that someone in charge if the false flag operation asked for SIM cards and some wonderful, genius underling got The Sims instead.
Even better, a letter they confiscated apparently is actually signed 'Signature Illegible'. And the spies literally wrote in Signature Illegible for the signature:
Comedy gold from the FSB.
Thank you, sir. Thank you!
Also check out the article from The New York Post.
Sunday, 24 April 2022
The Great Delusion and Ukraine
Mearsheimer's The Great Delusion: Liberal Dreams and International Realities depicts the 2014 Ukraine conflict as an outgrowth of the policies of Liberal Hegemony, which ignored geopolitical realities and doomed Ukraine to war.
It all goes back to the collapse of the Soviet Union:
"When the Cold War was ending, the Soviet Union made it clear that it favoured keeping the US military in Europe and maintaining NATO. The Soviet leaders understood that this arrangement had kept Germany pacified since World War II and would continue doing so after the country unified and became much more powerful. But Moscow was deeply opposed to NATO enlargement."
Multiple sources say that the US made verbal promises to the Soviets that no such expansion would occur. Clinton went ahead anyway. The first tranche was in 1999, and brought in Poland, Hungary and the Czech Republic.
The second tranche occurred in 2004, and added Bulgaria, Romania, Slovakia, Slovenia, Estonia, Latvia and Lithuania.
None of this was forced. The new members applied of their own accord; none were pressured. It is likely many felt compelled to do so out of fear of their former occupier: Russia.
It's also worth mentioning that all of the NATO countries enthusiastically supporting Ukraine are Eastern European, with the exception of the United Kingdom and the US. France and Germany are sending little aid, likely because they are heavily dependent of Russian oil and gas. If that is cut off, Germany will descend into a recession.
"The real trouble began at the NATO summit in Bucharest in April 2008, when Ukraine's and Georgia's membership came up for discussion... Putin maintained that admitting those two countries would represent a 'direct threat' to Russia. One Russian newspaper reported that Putin, speaking directly to Bush, 'very transparently hinted that if Ukraine was accepted into NATO, it would cease to exist.'"
That's more than a little alarming.
Russia didn't wait to act. It invaded Georgia in August, 2008, after Georgian President Saakashvili ordered his military to reassert control over two pro-Russian breakaway republics (you can't join NATO if you have disputed territory). That was used to justify a full scale Russian invasion (sorry I mean 'humanitarian intervention').
By occupying Crimea and the Donbas, Putin blocks Ukraine joining NATO, as it introduces that niggling territorial dispute. He also warned that he'd invade if Ukraine cracked down on the rebels, and cut off Ukraine's gas supply a few times.
"(Putin) preferred to keep Georgia weak and divided and decided to humiliate Saakashvili... and gained control over Abkhazia and South Ossetia. The West did little in response, leaving Saakashvili in the lurch."
The US packaged NATO enlargement, EU expansion and democracy promotion into a policy bundle that Mearsheimer argues "turned Moscow into an enemy, leading directly to the Ukraine crisis."
Ukrainian President Yanukovych's government collapsed in January 2014, and the new regime was:
"thoroughly pro-Western and anti-Russian. Moreover, it contained four members who could legitimately be labled neofascists. Most importantly, the US government backed the coup, although the full extent of its involvement is unknown... It is hardly surprising that Russians of all persuasions think Western provocateurs, especially the CIA, helped overthrow Yanukovych."
I get the impression that a critical mass of Ukrainians were in favour of that as well, but that doesn't mean the US didn't help, either.
The United States reserves the right to block foreign interference anywhere in the Americas. It's a very Realpolitik position, and one which Russia feels it can apply to former Soviet Republics and Warsaw Pact members.
"Most realists opposed expansion because they thought a declining power with an aging population and a one-dimensional economy did not need to be contained, and they feared that the enlargement would strongly motivate Moscow to cause trouble."
Measheimer quotes George Kennan, who had this to say about NATO expansion:
"I think the Russian will gradually react quite adversely and it will affect their policies. I think it is a tragic mistake. There was no reason for this whatsoever. No one was threatening anyone else."
So fear of invasion leads to wanting to join NATO which leads to actual invasion, which wouldn't have happened if they hadn't feared invasion.
It's a mad, mad, mad, mad world.
Saturday, 23 April 2022
Suicide prevention for Russian oligarchs?
Two died within a day of each other: Sergey Protosenya (hanged himself after stabbing his wife and daughter to death) and Vladislav Avaev (shot his family, then himself).
Four others have taken their own lives (Vasily Melnikov, Mikhail Watford, Alexander Tyulyakov and Leonid Shulman), and in some cases also murdered the rest of their families, since February 28th.
Forbes considers 68 Rusisan billionaires to be oligarchs. That would mean 8% of Russian oligarchs have committed suicide since the invasion of Ukraine.
Russian billionaires are now the highest risk group for suicide, significantly ahead of drug addicts and those suffering from chronic depression.
Police are also investigating the possibility that these may have just been staged to look like suicides.
Ya think?
Reminds me of that time Trotsky repeatedly fell on an ice pick...
Tuesday, 19 April 2022
Head of the Fifth Service arrested in wake of Ukraine invasion
The scuttlebutt is that Russian Fifth Service agents were pocketing for themselves all the money that was being distributed to supposed Pro-Russian allies in Ukraine.
Putin thought Ukraine was eager to throw off the yoke of their democratically elected oppressors and were yearning to be free under Putin's dictatorship, with the assistance of hordes of supporters.
Hordes of both expensive and imaginary Ukrainian agents.
If true, simultaneously mind-blowing and entirely unsurprising.
Friday, 15 April 2022
A Very Special Military Operation
There are interesting parallels (and differences) between Vietnam and Putin's ‘Very Special Military Operation’ in Ukraine.
In both cases, the occupying / invading army consisted largely of poorly motivated conscripts, experienced discipline problems, relied on overwhelming, indiscriminate firepower (artillery or bombing) and had an unrealistic assessment of the situation (and of both their own and enemy capabilities).
By contrast, the invaded countries (Ukraine and Vietnam) were highly motivated while being numerically inferior; both were also backed by a super power (the United States and the USSR/China).
I've been doing some reading and this is what I've come up with. I'm putting it down mostly for my own sake, to make sense out of what's happening, and try and understand where it may be headed.
Background
Ukraine had one hell of a tumultuous 20th century. Towards the end of World War I, Ukraine made a pact with the Central Powers to provide grain in exchange for driving the Bolsheviks out. Cossack General Skoropadsky established a Ukrainian Hetmanate in April, 1918, but fled with the German surrender in November.
A French military expedition to Odessa and Crimea followed, but quickly withdrew ahead of a Soviet invasion. That was rolled back by a Polish-Ukrainian alliance, which collapsed when Poland made peace with the USSR. Ukraine officially became a Soviet in 1922.
The Holodomor followed in the 1930s, during which 3 to 5 million Ukrainians are estimated to have died during an engineered famine.
World War II killed almost 7 million Ukrainians (1.5 million of them Jewish, often killed with the help of their neighbours), roughly 16% of the entire population. The UPA (Ukrainian Insurgent Army) assisted the Germans. Some 80,000 Ukrainians joined the Waffen SS, while others served as concentration camp guards. Anti-semitism ran deep across Eastern Europe. This is where the Nazi slur against Ukraine comes from. A total of around 250,000 Ukrianians assisted the Axis (although arguably some were fighting more for Ukrainian independence and amorally using whatever ally was convenient).
To put it in perspective, 4.5 million Ukrainians fought for the Soviet Union. And to be fair, hundreds of thousands of Russians fought for the Axis (600,000 Hiwi under arms in 1944 alone), including the Russian General Vlasov. A quarter of the troops in the German Sixth Army were former Soviet subjects. Given the barbarity of the German occupation, that's astonishing.The German General Plan for the East called for a reduced population employed as slaves, with the majority being killed off through starvation (grain would instead be shipped back to feed Germany). Nothing but the most rudimentary education (reading sign posts, for example) was to be provided for the population moving forward. The Nazis were taking a page from the Spartans, who kept uneducated Helots to do the hard work. By 1944, the Nazis had been driven out of Ukraine, although Ukrainian nationalists continued fighting an insurgency in Western Ukraine against Soviet domination until as late as 1954. Timothy Snyder, no relation to Zach, dubbed the region between Berlin and Moscow ‘The Bloodlands’, because armies kept running over it, then backing up and running over it again and again. It inspired George Orwell’s depiction of conflict between the superstates Oceania, Eurasia and Eastasia in 1984. I wrote about that here.
In 1991, Ukraine became an independent nation again. It retained Crimea, assigned to it by Nikita, and a large nuclear arsenal. Clinton persuaded them to give the nukes up in 1994 in exchange for pieces of paper guaranteeing Ukrainian security.
In 2014, 'Little Green Men' occupied Crimea and pro-Russian insurgents seized part of the Donbas (The NVA infiltrated South Vietnam all while also denying they were there). Russia also began funding gangs to rabble rouse across Eastern Ukraine.
The rest is current events: Russia has attacked on at least four fronts (North, South, Northeast and East) against a numerically comparable enemy, without unified command. The have failed to establish air superiority, adequate logistical support or even discipline amongst their troops.
Like Ukraine, Vietnam spent decades subsumed in a foreign political unit, as part of the French colony of Indochina. Ho Chi Minh initially approached the Americans for support for Vietnamese independence, as there had been an anti-colonialist streak in American foreign policy before the Second World War, but that died the minute the Cold War began.
Japanese occupation broke any mystique the French had, and when France attempted to reassert control over Indochina, Minh declared independence. Despite the Americans footing the bill, by 1954 the French were ready to call it quits. Indochina split into three new nations: Laos, Cambodia and Vietnam.
Vietnam was divided into a communist North and an ostensibly democratic, but in truth deeply corrupt and autocratic, South.
During the Advisor Period that followed, with up to 16,000 American military consultants backed by airpower. Viet Cong attacks on American airfields dragged in American ground troops, ushering in Johnson's War. Tet finished Johnson politically and shattered American morale, even while annihilating the VC, who never again fielded troops at battalion level. NVA command had expected their attack to inspire an uprising against the Americans across South Vietnam (rather akin to how Bin Laden expected an uprising after 9/11); they were out of touch and projected on to the South their own values and beliefs. No mass pro-communist uprising occurred. On the other hand, the result they got was almost as good. It's one of those rare occasions where a military won the war by losing the battle(s).
Nixon was up to bat next, but even as he bombed the crap out of Cambodia and the North, he was looking for a way out. By 1973, US troops had vacated the arena. In 1975, North Vietnam plowed into the power vacuum and South Vietnam imploded. In less than two months, NVA tanks rolled into Saigon, just like Russian tanks didn't in Ukraine.
The 'Imperial' Armies
Superpowered support
Moh motivation
Civilian casualties and dumb bombs
The MCAV (Military Assistance Command, Vietnam) required body counts from units in the field: that was established as the measure for success in Vietnam. Not the smartest decision the US military has ever made.
According to Gunter Lewy (and Wikipedia) 1/3 of enemy KIA were civilians, for a total of 220,000 civilian deaths over the course of the war. That's not including bombing casualties in Laos, Cambodia or North Vietnam.
Soldiers were encouraged to make up kill counts if they didn't know the actual numbers. Accuracy wasn't the paramount concern: the military bureaucracy had a box to check, and everyone going up the chain of command needed a number. But who's going to comb through dangerous jungle, or tunnels, for bodies? The numbers were often pulled out of thin air.
Free Fire Zones were established in which anyone who was unidentified or out after curfew could be shot on sight. Given the incentive system, civilian casualties seem inevitable.
According to Vietnam: 50 Years Remembered, American infantry averaged 240 days of combat per year in Vietnam, but only 10 days in WWII. An incredible statistic which, if true, suggests enormous psychological stress on the GIs in Vietnam, contributing to poor decision making.
In Ukraine, Russia has deliberately shelled residential neighbourhoods, causing mass casualties. Body count may not be a success measure, but terror seems to be part of their modus operandi. Russian troops have also (reportedly) engaged in extensive rape, looting, torture and murder.
To be fair, that's pretty common in war. US troops committed atrocities in Vietnam (My Lai was just the most publicized example) and there were unintended strikes against civilians in both Iraq and Afghanistan. Even so, the modern American military exhibits both a significantly higher level of professionalism, and avoidance of civilian casualties, than the RF.
The Russians are deliberately targeting civilian neighbourhoods with artillery. Mariupol has been flattened, with an estimated 5,000 civilian casualties. Mass graves have also been uncovered in areas evacuated by Russian troops north of Kyiv.
Troop levels
At it's peak, the United States had 543,000 personnel in Vietnam, supported by roughly 700,000 ARVN troops. The population of South Vietnam was 16 million. North Vietnam had a slightly larger population of 18 million. And yet, even with over 1.2 million men at their disposal (six times the number of Russian troops in Ukraine, a country almost three times the population of South Vietnam), supported by air power and artillery, the US and South Vietnam could not solidify their control.
The NVA and VC had some 100,000 troops in South Vietnam, virtually all of whom were replaced annually due to extremely high casualties. Giap said that by 1969 the North had already suffered 500,000 casualties, but that wasn't going to stop them: "The life or death of a hundred, a thousand, tens of thousands of human beings, even our compatriots, means little."
Iraq has a population of 40 million; US troop levels ranged between 130,000 to 187,000 between 2004 and 2009, not including private contractors or Iraqi security forces. Prior to the invasion, General Shinseki estimated that 260,000 troops would be required to successfully occupy Iraq. They never came close, and until local militias were co-opted, the country was notoriously unstable.
The Russian army entered Ukraine, a country of 44 million, with roughly 180,000 troops and 2,840 tanks. That's comparable to the troop levels the Americans deployed in Iraq, but there's a marked difference in capabilities and professionalism. America's all volunteer army has higher morale and greater dedication, along with the support of NCOs and contractors.
Deployed against the Russians are (were?) 215,000 active Ukrainian military personnel supported by 2,550 tanks.
So far, Russian forces have suffered the verified loss of at least 450 tanks and over 800 supply trucks. Ukrainians have ambushed Russian columns (the Russians aren't screening their tanks with infantry) as they advanced, which is the same strategy the VC used against the French in Vietnam. They attempted it against the Americans too, but the US moved troops via helicopter and leapfrogged over the ambush sites.
Russian casualty figures range from 8,000 to 20,000 for the first month. By comparison, 6,990 Americans were killed in Vietnam in the first nine months of 1967. It took ten years for the USSR to suffer comparable casualty figures in Afghanistan.
Are these fair comparisons? Vietnam, Iraq, and Afghanistan were all counter-insurgency wars, with great force disparities, so lower casualty figures for the dominant side would be expected. And of course casualty figures should be taken with a massive grain of salt. Both sides are trying to spin the stats.
Compared to American troop levels in Vietnam and Iraq, it's difficult to believe Russia will be able to successfully occupy Ukraine given the forces it has deployed (if that even is the intent, which it probably isn't).
Interdiction of supplies
The media war
Since Putin cannot afford to lose, if his military forces continue to be stymied, he may feel compelled to escalate, without limit, for the sake of both victory and his own self-preservation.
Final thoughts
Sunday, 10 April 2022
Delusions leading to disaster
Which just makes me wonder: do leaders make decisions subconsciously, using their gut, and then apply reason's fig leaves? Or is the pre-war uncertainty fog is so great leaders (and intelligence analysts) can't make accurate assessments of possible outcomes?
The world infamously barrelled into World War One thinking it would be a jolly Fall romp, over in a few months. People enlisting were worried it would all be over by the time they reached the front. So not what they needed to worry about.
Sunday, 6 March 2022
Boba vs. Peacemaker smackdown
I recently watched both Disney's The Book of Boba Fett and HBO's Peacemaker. Both shows are escapist fantasy: one a Space Western, the other a... uh... dysfunctional superhero investigation / alien invasion show.

