Article
America
Conspiracy theory
Culture
Politics
5 min read

US election: the primal stories trumping facts

Projections and polls cannot capture the power of stories shaping identity.

Jared holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

a map depicts US states coloured red and blue.
538 election prediction map.
ABC News.

Washington D.C. — Election throes in America are intensifying while citizens prepare to cast their votes. The last week alone has been something like a whirlwind, not to mention the entire campaign itself. 

Last week, Americans tuned into the first and possibly final Presidential debate between Trump and Harris. On the heels of the debate came a flurry of propaganda leveled by JD Vance (and promoted by Trump) against Haitian migrant communities in Ohio. These claims resulted in bomb threats and school closures. 

And to wrap up the week, a second assassination attempt on Donald Trump in nearly as many months. Trump and his campaign, quicker and more direct that the first attempt, quickly cast the blame towards Democrats, specifically for what they see as violent rhetoric in describing Trump as a “threat to democracy.” Trump meanwhile continues to campaign on threats and claims of election fraud, refusing to signal he’d accept the certified results of the election in the event he loses.  

That’s just another week in an unpredictable American presidential election. 

Americans are besieged, all of us, by a throng of pollsters, partisans, and pundits. Each trying to ride the raging bull of the election cycle. 

And life goes on. For now, in this time, in my small corner of American life, I find there is this mixture of exhausted apathy and existential rage. In view of the spectacle, there’s a general exasperation of “what will happen next?” But more personally, dispersed on social media, is the existential zeal and dread—“we” have to defeat “them!”   

The danger of this mixture is twofold. Just as odd as it is potent. It is also combustible. And just as it can lay dormant; it can also be summoned by a mere spark.  

Americans are besieged, all of us, by a throng of pollsters, partisans, and pundits. Each trying to ride the raging bull of the election cycle with predictions and projections. Some offer prayer. 

I listen in on conservative Christian talk radio. Prayers offered on air for God to intervene. What follows is a litany of slogans— “secure our borders” and “defend life” and “the economy” — and of course prayers for the salvation of those who think differently.  

Then, there’s more daring outrage merchants with deep pockets. Those who try to shift the election through nefarious means. Like the case of Tenet Media, a media network of right-wing American podcasters who were recently indicted by the Justice Department for receiving Russian funds through fronted companies.  

It seems to me that the heart of the matter in the midst of this election, deeper than policy and beyond the spectacle, is that none of us are entirely sure what reality another person inhabits.  

A new study published last week found that most registered Republicans (at 67 per cent) trust the Trump campaign as their primary source for election information. Trump’s word, for nearly three quarters of his party, is given more authority than government certification, media-based news, or local news. 

This raises the possibility that, in 50-some-odd days, if Trump refuses to concede, if he repeats claims of election fraud, his base seems ready and willing to believe it.  

Our social and political worlds have been set on fire not for want of facts but by stories which overpower fact with meaning.

Alongside the debates about policy, the propaganda that stokes division and dehumanizes migrant communities, is a deeper crisis of source authority. Of not just “facts” but truth, of meaning, of reality. 

The study revealed that most Americans signal they tend to trust information that comes from “data” and “facts.” But oddly enough, nothing about that statement seems to accord with the on the ground reality of America’s social fabric.  

We should know by now: facts have never been enough.  

100 years ago, as novelist Rebecca West reflected on the chaotic series of events that sparked World War I, she admitted, “I shall never be able to understand how it happened. It is not that there are too few facts available, but that there are too many.” 

 What seems “real” for many Americans is not (and perhaps has never been) rooted entirely in the all-powerful “fact.” Our social and political worlds have been set on fire not for want of facts but by stories which overpower fact with meaning. These stories are primal. They’re the kind which create identities and bind communities. They are rich in meaning and so prove entirely immune to fact-checking operations. Source authority has no power apart from primal stories. And though projections and polls tend to focus on the data, they cannot capture the power of stories which create identity and contain community. This is the stuff the vote is made of, too. 

This past week, JD Vance defended his propaganda in the form of conspiracy theories of Haitian migrants eating pets by telling CNN, “If I have to create stories so that the American media actually pays attention to the suffering of the American people, then that's what I'm going to do.”  

Ends-justifies-means has always been ascendant in politics. Nobody is arguing that MAGA invented political expediency. But this election is careening towards deep waters which we would do well to avoid. 

“Propaganda is a means to an end,” said Reich Minister of Propaganda Joseph Goebbels in 1934 before an audience at Nuremberg, “…it provides the background music...[it] miraculously makes the unpopular popular, enabling even a government’s most difficult decisions to secure the resolute support of the people.” 

I do not know what the next 50 days will hold. I remain deeply concerned that the word of Trump aspires to assume an authority which sees democracy as a meddling imposition in one man’s destiny. But I do know that none of this is fated. As Augustine observed during the throes of Rome’s collapse: “Bad times! Hard times!” this is what they are saying. But let us live well and the times shall be well. We are the times. Such as we are, such are the times. 

May it be so. 

Review
AI
Culture
Film & TV
4 min read

Ethan Hunt is MI Jesus, and it’s ridiculous

The final instalment of Mission Impossible warns about AI, yet plays out as if written by a chatbot.
Tom Cruise playing Ethan Hunt in an open necked shirt looks perplexed.
Tom Cruise in action.

Is this the FINAL reckoning? I’m not sure. I hope so. There has been speculation whether Tom Cruise will reprise his role as Ethan Hunt in further franchise instalments. He has expressed interest, while also suggesting that the use of the word ‘final’ is purposeful and indicative. Let us all pray that he’s being honest. I mean…he must be exhausted. The stress and strain, the pressure and pain, that he puts his body through for every Mission Impossible film is approaching elder abuse – he is 62 after all. 

In a departure from tradition, Mission Impossible: The Final Reckoning is an immediate sequel to Mission Impossible: Dead Reckoning, which released in 2023. The series which has thrived on a formula of releasing stand-alone spy stories, allowing us to enjoy familiar characters in new scenarios, has decided to make a two-parter…although you wouldn’t know it. You don’t need to have seen Dead Reckoning to pay your money to watch Final Reckoning, as the script assumes you’ve not only missed the immediate prequel, but have never viewed any other Mission Impossible film.  

Goodness me, the film is plodding. It begins with a message from the President (Angela Bassett), delivered to Cruise’s super-spy Hunt. In previous instalments such messages have been a punchy way to set the stakes, roll the pitch, and then give the rest of the screen time over to remarkable action set-pieces. On this occasion we have an interminably long, and irritatingly portentous, monologue detailing why Ethan Hunt is the best of spies, the best of men, and essentially MI Jesus. The only man who can save the world from a literal apocalypse.  

The premise of the film is that the malevolent, power-hungry AI known as ‘The Entity’ (could no one have thought of a better name, REALLY!?), which Hunt failed to stop in the previous film, is now at large and tipping the world towards destruction. It is manipulating the media, gaslighting governments, and slowly infiltrating the nuclear arsenals of the world, all in preparation to annihilate most of the human race in a nuclear holocaust. It then plans to rule the remaining vestiges of humanity and create a new utopia for itself. Only Ethan Hunt can stop it…just as long as he convinces world leaders to trust him, finds the nuclear submarine where ‘The Entity’ originated, defeats hundreds of bad guys, and infiltrates a top-secret bunker in South Africa. 

We’re a world away from the lean and mean story of the first MI, where we only had the identities of CIA assets at stake! 

Its rubbish. Genuinely rubbish. 

The script is ripe. Nay! It is overripe. NAY! Burn the whole house down, because the brie has grown limbs and the fruit bowl is plotting your death. Every other conversation involves either Cruise pontificating on how the only way to defeat ‘The Entity’ is love and trust and the age of Aquarius, or someone explaining to Cruise how this mission is his destiny, because only he is good and pure enough to succeed. He’s MI Jesus, and it’s ridiculous. 

The film plods and plods and plods. The whole point of this franchise is to provide the viewer with regular, breath-taking action, and yet the first hour-plus is a litany of exposition and call-backs. Ethan travels to several European capitals, for about thirty seconds apiece, before formulating his plan. This is confusing and jarring, but to add to this pain, the audience is tortured with disorienting, quick-cut montages of Hunt’s previous adventures. The plot seems to be determined to link this final, world-ending catastrophe to his past escapades…except MI2…no one has love for that. 

Unfortunately, all these positives are packaged in such a self-aggrandising and cack-handed manner as to be rendered inert.

By the time the action really kicks in I was exhausted and in no mood. This is a shame, because the action is truly spectacular. A long sequence in a submarine – which is both well below safe diving depth, but is also slowly falling of an underwater cliff. A breath-taking fight between two biplanes. Gunfire galore. I recognised its brilliance on an intellectual level, but enjoyed none of it. I was too damned bamboozled by over an hour of nonsense beforehand. 

The performances are fine. Cruise is the last remaining true action star, putting himself through a gruelling regimen to ensure he performs his own stunts. This shows on the screen and is very much appreciated and commendable. Simon Pegg returns as Benji to provide the comic relief. Ving Rhames’ Luther has a brief appearance which is bitter-sweet and lovable. Henry Czerny and Rolf Saxon are delightful additions – the only call-backs to the first film which don’t irritate, and actually elevate the film. 

Mission Impossible: Final Reckoning is fine. It is serviceable. It delivers the heart-stopping thrills. It has timely theme: of what true humanity and human relationship is in a world dominated by AI, technology, simulated reality, and simulated interaction. This is all good. Unfortunately, all these positives are packaged in such a self-aggrandising and cack-handed manner as to be rendered inert. For a film whose story serves as an (admittedly histrionic) warning about the dangers of AI, it plays out as if designed by chatbot. 

The Mission Impossible films have always been a vehicle for Tom Cruise. This has been their greatest strength – he is the last true movie star after all, and we may never see such a charismatic and powerful screen idol again. This has also been their greatest weakness. What a shame this only became apparent in the (potential) final outing. 

  

2 stars. 

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