Tornado Alley (PROG)

[fuagf]

Guess they could have also included Peter Finch's Howard Beale in Network, that was '76

To today, seems very conservative people are missing something in that they have to have it all their own way. Like
the Musk, Yarvin deal "democracy is messy" it gets in the way of our bright people's efficiency agenda so demolish it.

Excerpts:

"Of course, the label “paranoid” suggests that the pertinent concerns are unfounded or irrational — an idea that some involved with “Zero Day” reject.

“It’s a cautionary tale about this division that we’re experiencing now, and that’s all too real,” said Lizzy Caplan, who plays a congresswoman in the series. “I don’t think this is some far-out-in-the-future, dystopian possibility,” she added. “I think it’s inches away from us.”"

Lizzy Caplan is right, and this is good too

The predominant tone in the conspiracy films of the 1970s is futility. The heroes are generally up against forces they can’t comprehend. As Newman put it, “There’s this sort of oppressive theme of a system that’s a monolith and impenetrable. We talked about all those films again and again and again, and we aspired to that.”

Jack Nicholson’s Jake Gittes felt it at the end of “Chinatown” (1974), crushed by corrupt forces more powerful than he can ever be. In Francis Ford Coppola’s “The Conversation” (1974), Gene Hackman’s surveillance expert Harry Caul, not terribly stable to begin with, is driven mad after his very secretive work leads to a murder.

This was the age of the Warren Report, Vietnam and Watergate, when distrust in the government spread rapidly through a country on edge. “There’s a reason why so many great conspiracy films were made in the ’60s and ’70s,” Oppenheim said. “Whenever there’s tumult in society, I think this genre has a resurgence.”

But if the U.S. is going through a similar instability now, all is not lost in “Zero Day.” There’s a sliver of hope at the end of the series, or at least something that pushes beyond pure fatalism.

“We very consciously reject the futility that is sometimes suggested by those ’70s conspiracy thrillers,” Oppenheim said. “We hopefully point to a path forward for people. As broken as any system might be, every one of us still has a moral compass inside ourselves, and we can still choose to do the right things.”

Your - https://www.nytimes.com/2025/02/24/arts/television/zero-day-netflix.html?searchResultPosition=1