Search Afterall.net

As a postmodern multicultural narrative, Avatar suffers the condemnation of its own accusations. It’s attack on Western civilization and elevation of primitivism through the journey of the hero, is by its own multicultural standards, a “white savior” racist myth. It reinforces imperialist notions of scientifically ignorant primitives being saved from superior forces by a white man who is anointed above them (remember Jake’s transfiguration?), condescends to be one of them, and redeems them through his superior technological and cultural transcendence. As one political writer concluded: “The ethnic Na’vi, the film suggests, need the white man to save them because, as a less developed race, they lack the intelligence and fortitude to overcome their adversaries by themselves.”

Recently a number of philosophically arresting moments have managed to insert themselves into the television landscape. True to form, Ronald D. Moore and company continue to address contemporary political, philosophical, and religious questions in the alternate world of Caprica, territory he brilliantly charted in his groundbreaking Battlestar Galactica. If the pilot is any indication, Caprica promises to explore even more pointedly themes of religious and ethnic tolerance, terrorism, technology, and the nature of the soul. ABC's FlashForward, clearly aimed at continuing the legacy of Lost and retaining its audience, has somewhat disappointed so far, but has nonetheless woven several provocative existential questions into its narrative, including one powerful Sartrean moment in particular. On the comedic front, NBC's Community had the temerity to devote an episode to whether humanity is intrinsically good or evil, and did so superbly. I'll admit to being prone to vegging in front of the tube even when the viewing is less cerebral, but a couple of these moments had me off the couch cheering for the writers.

Cameron wrote Avatar, says Podhoretz, “not to be controversial, but quite the opposite: He was making something he thought would be most pleasing to the greatest number of people.” What would have been controversial is if — somehow — Cameron had made a movie in which the good guys accepted Jesus Christ into their hearts. Of course, that sounds outlandish and absurd, but that’s the point, isn’t it? We live in an age in which it’s the norm to speak glowingly of spirituality but derisively of traditional religion. If the Na’Vi were Roman Catholics, there would be boycotts and protests. Make the oversized Smurfs Rousseauian noble savages and everyone nods along, save for a few cranky right-wingers. I’m certainly one of those cranky right-wingers, though I probably enjoyed the movie as cinematic escapism as much as the next guy. But what I find interesting about the film is how what is “pleasing to the most people” is so unapologetically religious.