Paul Gottfried: Don’t call me the ‘godfather’ of those alt-right neo-Nazis. I’m Jewish

Paul Gottfried writes April 17, 2018:

Robert Fulford’s comments about my political influence (March 10) were illustrated with a picture of an unidentified “man” giving a Nazi salute at a recent event of which I know nothing and headlined “How the alt-right’s godfather transformed our world (not in a good way).” Fulford writes that I once “nourished thoughts that seemed at best eccentric but now form everyday conversation online.” I am, he says, “a major source” of the alt-right’s “ideas and attitudes.”

These revelations about me omit the fact that I am a Jew, whose cousins were killed by the Nazis. Thus any suggestion that I might be associated with what is depicted as a neo-Nazi movement is especially offensive. This association, moreover, has nothing to do with reality.

Allow me to call attention to Robert Fulford’s more glaring (and, given his reputation, more disappointing) errors in his depiction of my life and career: I was not a philosophy professor, but a professor of humanities with an endowed chair, who taught among other subjects classical Greek. I didn’t merely spout “eccentric” opinions but produced a substantial body of scholarly literature that has been translated into several foreign languages. George Hawley’s scrupulously researched study Making Sense of the Alt-Right notes that my scholarship on the interwar European right influenced profoundly the American dissident right, among others. Among those who drew selectively from my scholarship was the alt-right figure Richard Spencer. But this hardly proves that I share all of Spencer’s present or even past views. Nor have I been exclusively associated with the right. For years I also published in journals of the left.

Fulford asks that, since I am apparently a “man of the right,” why not “join the traditionally right-wing Republican Party?”

Here we get to the heart of the problem: Fulford should familiarize himself with what Hawley calls the Old Right position that I’ve defended. This includes opposition to promiscuous foreign interventionism, the National Security State, social engineering, non-traditional mass immigration, and more. Yet these are all policies that Republicans like Mitt Romney, John Kasich, the Bush family and other representatives of this “traditionally right-wing” party accept.

Fulford writes that I was “one of those few intellectuals who support Donald Trump.” Indeed, I may have been launched into cosmic significance by that monster. It is true that I once thought that Trump represented a break with the American uni-party consensus and its disastrous policies. I’m not sure about that anymore.

I do know Richard Spencer and worked with him in 2010 when he edited the Taki’s Magazine website. We did develop the term “Alternative Right” together — it was a headline he put on one of my articles. But my subsequent strategic differences with him are a matter of public record, which should have been noted.

I did not attend and had nothing to do with the Aug. 12, 2017, Charlottesville Unite The Right rally that Fulford discusses in the article. Despite my non-involvement, however, I should point out that his retelling of the established media storyline warrants correction: However distasteful we may find some of them, Unite the Right demonstrators had acquired a legal permit to protest peacefully against the dismantling of Confederate monuments. They were assaulted by an “antifa” mob, and police, far from protecting the UTR demonstrators’ rights, were instructed by the police chief to let the two groups fight it out. These facts have been established by the independent Heaphy Report and the police chief has been forced to resign.

The million-dollar question for me is why Fulford would unfairly associate a Jewish-American scholar of the dissident right by associating me with white supremacists and neo-Nazis. I have read some of Robert Fulford’s earlier journalism with pleasure. My late wife was from Toronto and I spent considerable time there in the 1970s and ’80s, when Fulford was already a celebrated Toronto author. Given my one-time favourable impression of his work, I trust his unfair attack on me is not characteristic of his recent prose.

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Jonathan D. Sarna, “White Supremacy and Anti-Semitism: Lessons from the Capitol Attack,” 1/13/2021

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The Historical-Critical Method

Professor Edgar Krentz wrote in 1975:

* The introduction of historical criticism constituted ‘the most serious test that the church has had to face through nineteen centuries” about the nature of authority.14 The method tends to freedom from authority and criticism of tradition. It treats biblical material in a different manner than theological thought had done for centuries, and in the process questions the validity of theological method.

* In the late medieval period Thomas Aquinas, John Gerson, and a few others urged a more strictly literal interpretation. Their exegesis became consciously more objective. This objectivity, according to Robert Grant, is “the beginning of the modern scientific study of the Scriptures. Reason is set up as an autonomous agent.“3 It is difficult, however, to trace a direct line of descent from late medieval theology to modern biblical studies.

* Humanists like Erasmus, Cajetan, and John Colet interpreted the Bible with the same methods they used on other ancient literature; they looked for the literal sense. They could not artificially stop this mode of thought at some boundary erected around the Scriptures. They gave the first impulse to the historical understanding of the Bib1e.s Erasmus coupled with this a demand for the use of reason in interpretation, and so made reason a criterion of interpretation.” Thus historical thought and the use of reason were legacies to the Reformation and later interpreters. The classical gymnasia promoted their approach and so influenced generations of biblical interpreters.

* Luther affirmed that the Bible in its literal sense was clear and open to all.

* Luther’s affirmation of scriptural clarity brought two problems in its train. (1) How does one choose between different interpretations that claim to be based on the literal sense? Erasmus had answered, by reason. Luther elected instead to interpret the entire Scripture from its central point, Christ. “Take Christ from the Scriptures! What else is there to be found in them?“13 Where passages are unclear (and there are such), the interpreter’s task is to relate them to this Gospel. Melanchthon expressed the same view in Apology of the Auksburg Confession IV. (2) Luther applied the same principle to the problem of the canon. Some books fall short of a proper proclamation of the Gospel.

* In the seventeenth century science, history, and philosophy became autonomous disciplines, freed from both biblical authority and the traditional masters in their fields (Aristotle, Ptolemy, etc.).

* At the beginning of the seventeenth century the Bible was the universal authority in all fields of knowledge, but by the end of the century that authority was eroded… Science worked independently of the Bible-and in that way the Bible’s authority was diminished.

* The study of history followed a similar path. The Bible had been the authority for world chronology and geography. Now new knowledge from new sources revealed the limitations of the historical and chronological data in the Bible.

* Orthodoxy demanded instead a sacrifkium intellectus in the face of the Bible’s statements. After that only two responses were possible: either one must recognize two independent truths (which satisfied no one), or a struggle for supremacy must result.

* In the last quarter of the century the French Oratorian priest Richard Simon published a series of books in which he applied critical method to the Bible ( 1678 ff. ). With these he became the direct founder of the historical-critical study of the Bible. His aim was apologetic, not historical, to show that the Protestant sola scriptura principle, when carried to its logical conclusion, makes confidence in the Bible impossible. The literal sense interpreted by the true laws of criticism produces uncertainty, unless it is accompanied by tradition as guide. In arguing that Moses could not have written the entire Pentateuch, that some biblical books reflect a long period of compilation, and that the textual tradition is uncertain, Simon used the evident and the rational as criteria, i.e., he practiced criticism of the Bible. He was expelled from the Oratorians in 1678 and his writings were placed on the lndex.

* The last great dogmatic systems in Protestantism were written in the seventeenth century (John Gerhard, Loci Communes Theologici, 9 vol., 1610-1622; Abraham Calov, Systemu Locorum Theologicorum, 12 vol., 1655-1672, etc.). They were important, yet futile, attempts to secure the Scriptures as Word of God.

* The eighteenth-century Deists treated the Bible with freedom when it did not, in their lights, accord with reason. For example, they argued that Isaiah was composite, the Gospels contradictory, and the apostles often unreliable… Deism might have ruled longer but for the horror of the French Revolution, credited by many English men to the criticism practiced by French rationalism.

* In France imported English Deism mixed with seventeenth century rationalism to give birth to the Enlightenment. Pierre Bayle provided an arsenal of argumentation in his Dictionnaire historique et critique (1695) for Voltaire, Rousseau, and Diderot to support Bayle’s view that criticism has the right to make all areas of human thought its realm. Reason, thr advocate for both pro and con, is the only instrument adequate to discover truth. All binding authorities (political, social, and religious) must fall before it; they have no common ground with reason (Koselleck, pp. 88-92). Bayle set the tone for an anti-church polemic that characterized French intellectual life throughout the century and gave the term criticism its abiding negative connotation.

* The historical thought of the Enlightenment was more philosophical than historical. It recognized the time-conditioned, historical character of the Bible (a major contribution) only to remove it through the application of common sense to historical materials (Lehmann, pp. 44-46; Neil, p. 239). History was used in the service of the religion of nature (reason) only “to point a moral or adorn a tale.” The great achievement and literary excellence of Edward Gibbon’s Decline and Fall should not blind us to the fact that it was history told to support an antisupernaturalist position (Richardson, pp. 41-44).

Nevertheless, the impulses for true historical study-not to support a philosophical position, but to understand the past were present. The historical character of all revelation and doctrine was now clear. Herder was one of the first to point, even if unclearly, to the historicity of man and his entire world. He stressed that all historical phenomena are unique and singular, and so removed from analogical criticism.45 The stage was set for the flowering of true historical interest and method.

* An intellectual and social revolution changed all thought in the nineteenth century. Geology offered proof for the great antiquity of man, while evolutionary development was a commonplace by the end of the century. The fiery debate between science and theology soon died down, although the afterglow survives to the present. An economic and social revolution changed population and work patterns into those of the modern world. The optimistic spirit of growth and progress waltzed through the mental halls of Western civilization.

* The development of historical method can be documented in a series of works published within two decades. With Barthold Georg Niebuhr’s Rb’mische Geschichte (1811-1812) historical criticism came of age. Niebuhr used criticism to separate poetry and falsehood from truth in the sources from ancient Rome. He sought “at a minimum to discover with probability the web of events (Zusammenhang) and [to reconstruct] a more believable narrative in place of the one he sacrificed to his convictions.”4F Criticism was used positively, to write the history of early Rome. Niebuhr asked two questions consistently and clearly: “What is the evidence?” and “What is the value of the evidence?” He began the process of making the sources say far more than they intended by uncovering their Tendenz (bias). The result was a new, exciting, and convincing picture of the origins of Rome-and a new historical tool. Niebuhr’s influence was immense.

* The works written by David Friedrich Strauss and Ferdinand Christian Baur incited many to historical study. Strauss began the “really significant era of criticism of the New Testament” with the publication of Das Leben Jest ( 1835). Strauss, in part still a child of rationalism, followed Reimarus in denying the historicity of all miracles, the resurrection, and most of the content of the Gospels. However, he tried to save the eternal truths contained in the historically dubious materials through the concept of myth (Ernst, pp. 33-34). Reason destroys truth by its naturalistic explanations; the use of myth allows the preservation of truth in the face of rationalism. Myth allowed Strauss to place the Gospels into their own conceptual world and save their writers from being deceivers. It allowed him to read the Gospels without imposing on them modern presuppositions. Das Leben Jesu was a shocking work that roused a storm of protest. The clash between consistent historical study with rationalist presuppositions and the revelation-claim of the Bible was very clear. The conclusions Strauss reached were radical and questionable, but forced the issues of method and source criticism on scholarship and so were a factor in the origins of a truly historical approach.

* For Baur the New Testament was not isolated from the thought currents of the early church. He described these currents in Hegelian terms as thesis (Judeo-Christianity, Peter and Matthew), antithesis (Pauline Christianity), and synthesis (early catholicism). His solution still has currency. His Tendenzkritik persuaded him that the entire New Testament is interpretation from beginning to end.

* It is difficult to overestimate the significance the nineteenth century has for biblical interpretation. It made historical criticism the approved method of interpretation. The result was a revolution of viewpoint in evaluating the Bible. The Scriptures were, so to speak, secularized. The biblical books became historical documents to be studied and questioned like any other ancient sources. The Bible was no longer the criterion for the writing of history; rather history had become the criterion for understanding the Bible. 64 The variety in the Bible was highlighted; its unity had to be discovered and could no longer be presumed. The history it reported was no longer assumed to be everywhere correct. The Bible stood before criticism as defendant before judge. This criticism was largely positivist in orientation, imminentist in its explanations, and incapable of appreciating the category of revelation.

Positivism: 1. a philosophical system that holds that every rationally justifiable assertion can be scientifically verified or is capable of logical or mathematical proof, and that therefore rejects metaphysics and theism.
2. the theory that laws are to be understood as social rules, valid because they are enacted by authority or derive logically from existing decisions, and that ideal or moral considerations (e.g., that a rule is unjust) should not limit the scope or operation of the law.

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The Alt Right As Soap Opera (1-20-21)

00:00 The Alt Right as a sitcom
02:00 Richard Spencer was dragged kicking and screaming back into reality
12:20 The Alt Right would not make for a TV procedural like CSI
20:30 QANON AND THE END OF THE AMERICAN EMPIRE, https://www.bitchute.com/video/BIuZsLkcc6tK/
26:00 Antisocial: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation
36:50 Maia joins, https://twitter.com/emlaz
1:19:00 Catboy Kami arrested
1:23:40 Alt Right YouTube Drama Factory by Colin Liddell
1:29:10 Joey Diaz Is Ready To Go To Jail?
1:32:40 Piranha Speaks At US Capitol – Alex Jones Parler – Mike David From RedBar Covers
1:38:00 Matt Christman predicts a Q anon David Koresh movement in six months
1:46:00 Alex Jones sounds black-pilled, https://www.bitchute.com/video/9cEYVyhHfFZE/
1:47:20 Nick Fuentes says we have to believe in the spirit of Trump
1:55:00 Nick Fuentes reacts to Sargon calling him a white supremacist
1:59:10 David Pakman: DISGUSTING: 100% DEMONETIZED ON FACEBOOK
2:08:00 The Daily Grifter, https://twitter.com/DailyGrifter
2:29:00 Trusting the Plan, https://radixjournal.com/2020/12/trusting-the-plan/
2:32:00 Vox Day: Disappointed, but not demoralized
3:04:00 Nathan Cofnas on Biden’s Jewish cabinet, https://twitter.com/nathancofnas/status/1352044513007550465

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How I Deal With Frustration (1-20-21)


https://en.wikipedia.org/wiki/The_K%C3%B6ln_Concert

Role of Unconscious Mind in Development of Frustration

Essay on Frustration: Sources, Reactions and Measures to Face Frustration

Frustration : Types, Sources and Role


How frustration can make us more creative: https://www.youtube.com/watch?v=N7wF2AdVy2Q
12 ways to overcome frustration: https://www.youtube.com/watch?v=8I13yDuD_m4

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First We Take Manhattan (1-19-21)

00:00 The spiritual struggle ahead
06:40 Race and IQ, Fascinated and Horrified, https://www.youtube.com/watch?v=pIFSD_WR6bU
22:00 The Science of Spiritual Narcissism, https://www.scientificamerican.com/article/the-science-of-spiritual-narcissism/
41:50 The sociology of biological intelligence (Gottfredson, L.), https://www.youtube.com/watch?v=fEv-vHMWoeo
59:00 What’s So Bad About Storming the Capitol?, https://fakenous.net/?p=2134
1:20:00 Rob Henderson, https://twitter.com/robkhenderson
1:23:00 The Prime Fallacy: Misunderstanding Appearance, https://fakenous.net/?p=2102
1:27:00 Ideology Isn’t About Ideas, https://fakenous.net/?p=2083
1:42:00 The Biden-Harris Administration, https://www.outsidethebeltway.com/the-biden-harris-administration/
1:46:00 A Grim Illustration of the Toll of the Pandemic, https://www.outsidethebeltway.com/a-grim-illustration-of-the-toll-of-the-pandemic/
1:50:00 Will the GOP fracture? No. https://www.outsidethebeltway.com/will-the-gop-fracture/
1:57:00 Fox News Launches ‘Purge’ to ‘Get Rid of Real Journalists,’ Insiders Say, https://www.thedailybeast.com/fox-news-launches-purge-to-get-rid-of-real-journalists

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Tiger Woods, Addiction, Yearning For Adoption, Yearning For Rescue (1-18-21)

https://www.latimes.com/sports/story/2021-01-17/hbo-documentary-tiger-woods-life-public-eye

Richard Spencer says Trump brought out worst in him (1-17-21)


https://www.tmswiki.org/ppd/How_do_I_journal%3F
https://www.tmswiki.org/ppd/Structured_Educational_Program
https://www.tmswiki.org/ppd/TMS_Recovery_Program

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The Alt Right As A Sitcom (1-18-21)

00:00 The rules of genre
02:00 Comedy, tragedy, heroic genres, https://lukeford.net/blog/?p=136557
04:00 Richard Spencer vs Nick Fuentes, https://trad-news.blogspot.com/2021/01/richard-spencers-obsession-with-fuentes.html
09:00 Nick Fuentes || There’s A SILVER LINING To Big Tech Censorship
29:00 Babylonian Hebrew joins
32:00 Post-Left vs Chapo Traphouse
35:00 The Capitol Hill riots – far right? conservative? QANON?
1:00:00 Big Tech censorship
1:20:00 Nancy Pelosi compares Capitol Hill riots to the Holocaust
1:22:00 MIKE ENOCH PREDICTS TRUMP VOTERS WILL BE CALLED TERRORISTS NOV 2ND
1:27:20 NWG RESPONDING TO CLAIMS THAT ENOCH / TRS IS MOCKING HIM
1:40:00 NWG COMMENTS ON DIFFERING AIMS BETWEEN THE ‘WHITE-POSITIVE’ & ‘WHITE NATIONALIST’ SPHERES
1:47:30 NWG ANSWERING A QUESTION ON OLIGARCHS “TRYING TO PREVENT CIVIL WAR”
2:00:00 PWR ADDRESS THE ‘Q-TARD’ PROBLEM!
2:16:00 Matt Heimbach’s journey to and from the Alt Right, https://www.youtube.com/watch?v=LCiAfD2EDvY
2:20:00 Attorney Roberta Kaplan’s plan to bankrupt the Alt Right, https://youtu.be/HNmGdYxzj7I?t=996
2:23:30 The far-right pay-off in bitcoin, what does it mean?
2:27:30 Luke on Big Tech Bans Alex Jones from Aug. 6, 2018, https://www.youtube.com/watch?v=yOHlOonDNic
2:31:50 Trump Loses Compilation ft. Tim Pool, Sargon, Keemstar on copium…
2:41:20 JF and Keith Woods discuss optics concerning Nick Fuentes and the “America First” movement
2:44:30 Mersh: Baked Alaska’s Last Stand, Nick Fuentes
2:47:20 Mama J. F. is lashing out at J. F. guest (feat. No White Guilt)
2:57:00 Redbar: BEN SHAPIRO AND JOE ROGAN TALK BLOOD AND RELIGION

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Screenwriting 101: Mastering the Art of Story

Angus Fletcher writes:

* In comedy and tragedy, the main characters are eventually forced by the action of the plot to conform to the big rules of their story world. But in heroic scripts, the opposite happens: The main characters change the world.

* A god’s-eye narrator has the properties of a divine eye, all seeing and all knowing. It’s above the things it describes. It sees into their essence and has dominion over them.

* The ironic narrator goes back thousands of years to ancient Greek and Roman satire. The ironic narrator gently deflates and undercuts the things he or she describes. The ironic narrator wryly suggests that things are less important than we tend to think.

* The comic narrator is sometimes confused with the ironic because it can contain lightly satiric elements. But unlike the ironic, the primary purpose of the comic is not to tear down. Instead, it’s to lift up and celebrate the little curiosities of life… Almost every sitcom or romantic comedy uses a comic narrator. You can find one fantastic model in the script for Little Miss Sunshine, which begins with a happy catalogue of grungy characters.

* Historically, the sentimental narrator is the most common kind of narrator in screenwriting. The aim of the sentimental narrator is to speak the language of the heart, and since different hearts feel different things in different intensities and degrees, there’s a huge variety in sentimental narrators.

* The most obvious difference between film and TV is quantity. An average movie is two hours. An average TV series is designed to run for 100 hours or more. Generating all those hours of content presents a challenge, which writers answer by developing an engine to power the show for season after season.

*  There are different ways to build a TV engine, but the most straightforward is by establishing a deep conflict in the story world. Conflict pushes the plot. The deeper and more substantial the conflict, the more story you can get out of it.
By rooting conflict in the story world, TV writers allow for two key things needed to please audiences for hundreds of hours. First, they keep the plot going, and second, they keep the viewing experience consistent. For example, no matter what episode of Law & Order you watch, the show’s engine always generates the same cognitive mixture of intrigue and suspense.

* Films have a one-off conflict between story world and character. TV requires an engine of ongoing conflict within the story world that keeps the plot going and the viewing experience constant.

* Unlike in the film [Mash], the conflict here in the TV series isn’t a straightforward conflict against the war, because there are things about the war that the doctors will miss… the TV conflict is a conflict within the world of the war. In this TV world, war isn’t a single bad thing. It’s two opposites, good and bad. There are the pointless deaths, the heartbreak, the human cruelty, and the futility. But there are also the friendships and the daily triumphs. Whereas the doctors of MASH the film are in conflict with the world of war, the characters of M*A*S*H the TV show are windows into the deeper conflict of the world. Though they all bring unique viewpoints, the fact that all of the characters of a TV series offer windows into the same deep conflict means they can always be swapped out and exchanged. The role of TV characters as windows into the more enduring conflict in the story world also means that antagonists work very differently in TV than in film. In film, the antagonist is the human face of the world that the hero fights against. In TV, the antagonist is instead an expression of the same world conflict that beats inside the heroes’ hearts. And so rather than simply encouraging negative feelings in the audience, most antagonists will, as the series progresses, inspire increasing amounts of sympathy… In film, the antagonist is opposed by the main characters. In TV, the antagonist is one of the main characters, a window into the same conflict as everyone else. In TV, instead of hating the antagonists, the audience eventually comes to identify with them, too.

* The sitcom engine is the conflict between the individual and the society. Individual is a literal term when it comes to sitcoms: Every character is a one-of-a-kind individual, filled with rogue desires and dreams. Sitcoms generate enormous variety by tweaking the specific characteristics of the individual and the social aspects of the show. In Frasier, the tweak is that the individuals are highly neurotic psychiatrists. In Cheers, the tweak is that the society is a bar where everyone is trying to escape the other society outside. In other words, there are two basic ways to invent your own original sitcom. The first is to focus on a unique subculture of individuals, like Broad City does with female college grads in New York City. The second is to focus on a unique kind of social togetherness, like Modern Family does with post-divorce American families, or Seinfeld does with the special bond between misanthropes.

* Since the engine of sitcoms is the running conflict between the individual and the society, sitcoms never imply that one is absolutely better than the other. If they did, that would kill the engine. Instead, sitcom episodes go back and forth between mocking the individual from the perspective of the society and mocking the society from the perspective of the individual.

* In the world of sitcoms, a clown is any character locked within their own private worldview—that is, any character who mistakes their dreams for reality. There are many different ways to create a sitcom clown. One is to give the clown an uncontrollably strong emotion or passion… : Make your clowns harmlessly eccentric, their oddness a danger only to themselves. The comedy in a sitcom comes from harmlessly eccentric clown characters. It doesn’t come from writing jokes. Instead of writing jokes, create a character with a slightly offbeat mind. Then imagine what that atypical character would typically do. Whatever it is will automatically be funny, unless it mortally threatens your audience. In that case, dial it back.

* Sitcom plots are set in motion by a problem that characters create for themselves. And clowns are always creating problems for themselves… The key here is that in both plots, the clowns’ normal psychological drives lead them to create a problem that then puts them in conflict with another character. That conflict with another character then leads to an escalation.

* At the end, the important thing is that the characters finally stop making their self-inflicted problem worse. Maybe they give up. Maybe the world crushes them. Maybe the other characters rescue them. It’s up to you and what you want your audience to feel.

* Every sitcom begins with a problem that the main character creates. That problem gets worse and worse, leading to more disasters and complications, until at the end, the character capitulates and things go back to normal. In the procedural genre, it’s the inverse. Every episode begins with a problem that the main character sets out to solve. That problem is unraveled piece by piece through a series of breakthroughs and discoveries, until at the end, the character triumphs and things go back to normal… The engine of every procedural is broadly the same: The conflict is between the forces that generate the problem and the procedures that solve it.

* Every plot line [in Grey’s Anatomy] is about a character striving to fit in with some group but, in the end, failing to make it completely. One of the most spectacular instances of these plotlines is George’s interaction with a worried family
whose father is going to have heart surgery. George bonds with the family by promising that their father will make it through surgery alive. With this beat, the script establishes that George finally feels like he belongs. Then, the plot rips this feeling of belonging away by showing the father flatlining in surgery. This forces George to inform the family that he’s dead. Their response: “Thank you. Please … go away.” George is back on the outside; he was part of the family, and now he isn’t anymore. The point here is that the purpose of a soap is to keep returning to the same emotional conflict over and over. To reverse engineer those returns, take each of your characters and create little challenges for them that hold out the promise of resolving the conflict. Then, interrupt your characters’ moments of triumph with a sharp plot twist that plunges them back into their original dilemma so that the show’s engine goes on…

* the purpose of a soap is to keep returning to the same emotional conflict over and over. To reverse engineer those returns, take each of your characters and create little challenges for them that hold out the promise of resolving the conflict. Then, interrupt your characters’ moments of triumph with a sharp plot twist that plunges them back
into their original dilemma so that the show’s engine goes on.

* The tone of soap operas is always sentimental. Everything in the world is portrayed from the perspective of how the characters feel about it.

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The Place That You Love (1-17-21)

Find the Place You Love. Then Move There. https://www.theatlantic.com/family/archive/2021/01/what-moving-house-can-do-your-happiness/617667/
The German Historicist Tradition: https://lukeford.net/blog/?p=136517
The Other God That Failed: Hans Freyer and the Deradicalization of German Conservation,

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