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Suicide at the Oscars, part one: ‘Crisis Hotline: Veterans Press 1’

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J.C. Schildbach, LMHC

The topic of suicide came up in at least three acceptance speeches at the latest edition of the Academy Awards on February 22, 2015. (Okay, yeah, I’m late to the party again). And perhaps even more astonishingly, two of those acceptance speeches were actually related to films about suicide prevention hotlines. First up is the documentary, Crisis Hotline: Veterans Press 1. (A post about the short film, The Phone Call will follow soon).

Having spent more than five years working full time for a crisis line, and continuing to work in a position sideways from, and occasionally overlapping with, such work, I can’t help but come to these films with something of a bias.

As a matter of fact, I first saw a portion of Crisis Hotline: Veterans Press 1 on a Sunday morning after coming home from an overnight shift at a call center where the crisis line calls represent only one of many mental health functions with which the staff is tasked. Having spent the bulk of my work week on understaffed shifts, I was perhaps a bit resentful at flipping on the TV to see a scene what Bob Hosk, one of the Veterans Crisis Line supervisors who features prominently in the documentary, described as “five hours here at the hotline” utilizing “about four personnel to help one guy.”

Now, don’t get me wrong. I think it’s great that the resources were available and the effort was made, with (spoiler alert) a positive outcome for an active duty service member in Hawaii.

In the time since I first saw that segment of the documentary, I’ve become more familiar with the workings of the military in addressing the epidemic of suicide among veterans and service members, and will say it is truly impressive to see the complete change that has taken place over roughly the last two decades—from an approach to suicide and mental health issues that could be described as ‘don’t ask don’t tell’ to one of increasing and highly-promoted access to counseling services, to working with suicide prevention specialists and investing in the crisis line depicted in the documentary, among many other avenues.

But, back on that summer morning, knowing that in similar situations (an unknown caller making a vaguely suicidal statement, then hanging up) rather than having a specific staff member on shift to call a special “law enforcement” phone number at cell phone company to get information on the caller’s location by pinging cell phone towers, and then being able to devote ‘five hours and four personnel’ to find the caller, whichever one of us took the call would typically end up trying to call back, and, failing any respone from that, doing a quick Internet search on the phone number (like they show in the documentary) and then making a call to 911 dispatch in whatever location the phone number (probably) originated, to report that somebody had called and threatened suicide—‘no, we don’t have a name; we don’t have an address; we don’t know how they might do it or if they tried anything yet; we don’t know if there are weapons involved; no, we don’t know much of anything about anything—we’re following our protocol, sorry to bother you.’ Then on to the next call—which could range from a hospital social worker inquiring about a client’s mental health history, to a client with chronic mental illness telling us about his dinner, to someone struggling to get help for a family member with a mental illness, to…

In the case of Crisis Hotline: Veterans Press 1, my sense is that the caller from Hawaii was truly coming from a place of desperation, and, perhaps, wasn’t aware of other options available to him, or just what sort of response might kick in as the result of the call he made. He may have thought that by hanging up, he could just drop the whole matter. He may have scared himself simply by voicing the thoughts he was having about ending his life, and so tried to walk away from that.

But beyond my initial reaction to the portion of the film I saw back on that sunny Sunday morning, and my somewhat-tempered-by-time-and-new-information response now, I have mixed reactions to the film.

I’ll say that, overall, I think it’s an excellent depiction of some of the most challenging types of work that happen at crisis lines, and at the Veteran’s Crisis Line Center in particular, which the film notes “is the only call center in the U.S. serving veterans in crisis.” (A more accurate description would be that it is the only call center in the U.S. specifically established to serve veterans, and specifically engaging the particular protocols of that call center in order to assist veterans. Any crisis line in the U.S. will take calls from veterans, and do what they can to help. Call centers affiliated with Lifeline routinely take calls from veterans and their families, in part because the callers don’t always ‘press 1’ when prompted to get transferred specifically to the Veterans Crisis Line Center. And, while Lifeline workers typically will explain to such callers that they have not reached the veteran’s line, they always offer to help.)

Semantics aside, not all calls to a crisis line are life and death—or even crises. Each time the phone rings, it’s not a given that the caller is a someone on the verge of taking her/his life, or a family member of such a person. But you wouldn’t know that from watching this film. You only get the slightest whiff of the lighter calls, when, early on, the camera moves through the call center, the sound of constantly ringing phones and poignant snippets of dialog, reaching the microphones at just the right time: “really proud of you…Where were you stationed?..So twice you tried to hang yourself before?…Do you want me to send someone there for you?…Did you get injured while you were out on active duty?…diagnosed with PTSD?…If there’s anything we can do for you…”

Okay, so those don’t come across as all that light. That particular scene is one of many subtle manipulations used by the filmmakers—layering audio to create a particular impression of an “always on” call center. For the sake of drama, the filmmakers leave out audio involving callers who are just seeking information or non-emergency services. They leave out the repeat callers who are really just touching base and giving a brief synopsis of their day. They leave out those calls having any of a number of angles that aren’t even remotely related to suicide.

The filmmakers also choose to escalate the drama in a completely unnecessary way. For instance, the music, most often quiet, involves drawn-out, high-pitched tones that add to the tension viewers are meant to feel—as if trying to talk a stranger out of suicide isn’t drama enough.

I love this woman: Maureen--Crisis Line Responder, Extraordinaire

I love this woman: Maureen–Crisis Line Responder, Extraordinaire

On top of that, the final segment of the film takes place on Christmas Eve. The scene opens with outside shots of the call center at night, American flag flying, trees wrapped in colorful, twinkling lights, as a soft jazz version of “Have Yourself a Merry Little Christmas” plays–the song adding a sting of dark humor with it’s ‘all our troubles will be miles away’ and ‘let your heart be light’ emotions. The timing of the scene was undoubtedly selected because of the heightened emotions many viewers are likely to have around the idea of a “Christmas miracle” or notions of family togetherness at the holidays. But it also serves to reinforce the popular, but ill-informed, notion that ‘the holidays’—Christmas in particular—are a time of heightened depression and increased suicide, an impression reinforced by a shot of the notepad where the crisis responder has written a quote from a suicidal veteran: “Holidays are depressing.”

There are other things that could be taken as manipulation, but which I think were not only clinically sound decisions, but also place the focus where the documentarians wanted it: on the people working at the crisis line. Not hearing the callers, for instance–while likely done just as much for clinical reasons, as for legal and artistic reasons–provides for greater control over how the information will be presented to the audience, and also removes any impressions viewers might have of the callers based on their voices, or the tones they are using.  While I obviously don’t know the specifics of how any of the callers in the documentary spoke or sounded, anybody who has spent time working on a crisis line knows that many of the callers can come across in a way that, shall we say, challenges empathy. Responders need to be aware of the potential biases they bring to calls, and need to develop skills for de-escalating and connecting with difficult callers. At any rate, difficult or not, hearing the callers’ voices would create a completely different film.

Still, one of the most valuable aspects of the film is in giving voice to the crisis line responders, not only in their moments of calm where they appear to be completely in control, but when they are giving voice to frustrations as well. During one call, Robert, a veteran himself, complains that the response time from police is “ridiculous.” In a separate interview segment, Robert expresses the anger that crisis line responders can feel toward callers: “How dare you take your own life?” But part of the reason Robert’s rawness comes across in a potentially endearing fashion is that the filmmakers also let him speak about his struggles with questions of his own abilities, whether or not he has made the right decisions, or whether he made them in time—questions born of situations where the interventions failed.

There are other responders in the film with whom I had a harder time connecting—feeling a sense of kinship, or understanding their particular reactions, or the ways they tried to connect with callers. I don’t want to dwell too much on my snotty, hypercritical reactions, though—or even mention them in any specificity. For one thing, I know only a very limited amount about what was happening in those particular situations. And I don’t know how those people move about in daily life, or in their routine work at the crisis line.

But why I will most back away from potentially harsh or nitpicky-sounding criticism of any of the responders is because I can’t imagine having to work a crisis call with the knowledge that cameras are on me, and that whatever I do could end up on HBO.

That said, there is one responder in particular, Maureen, who comes across as the undoubted ‘star’ of the film. Little is explained about Maureen or her background, except, perhaps, that she reveals that she has sons, as she is complimenting a caller on her handling of a difficult situation.

Beyond that, Maureen demonstrates the perfectly complicated balance of compassion and detachment that is rare in crisis line workers. She is able to connect to the callers, but does not get visibly drawn into the drama, despite mentioning calls that ‘stay with you.’ Early on, we hear her say, “It’s ultimately the veteran’s decision if they are going to live or die…and as a responder, you have to have a really good grasp of that.” Truer words have never been spoken.

Maureen is able to deliver lines of perfect connection to callers–lines that may seem odd to those unfamiliar with such situations. After asking a caller about how his friend (who died in combat) would react to news of the veteran’s suicidal intent, she listens for a bit, then says, “He’d kick your ass? So he’s a good friend.” Maureen is able to drably ‘contract for safety’ with callers, getting them to promise that they at least won’t kill themselves while they are on the line with her, and then works to expand on that promise.

Maureen is the responder featured in the final scene of the movie—the one that takes place on Christmas Eve. Against this backdrop of heightened emotion, she is tasked with drawing a soldier with a gun out of the desert, and back to his parents, despite much of his life unraveling. She is further challenged by limitations on her involvement—having to direct the veteran’s mother on how to bring him home, and then sitting silently, listening, and hoping it all works out.

In the end, Crisis Line: Veterans Press 1 leaves much to contemplate—whether from a clinical or technical perspective—or any of the other myriad perspectives that could be brought to the film. It is incredibly effective in that it is able to provoke a range of emotions, and could, potentially, be used as a tool for training crisis line workers and volunteers, service members and their families, or really anyone who wants a better understanding of how crisis lines work, how the mental health system can be accessed, or how the military is responding to concerns of suicide among its ranks.

It remains to be seen if the film will help draw more workers and volunteers to crisis services, or perhaps scare more of them off. And this is where I have the most difficulty with the film. How much is too much when trying to convey the intenstity of real-life situations? What level of manipulation and film-making technique serves to create understanding, and what level serves to drive only emotional response?

Granted, the vast majority of people who see Crisis Line: Veterans Press 1 will never work in a crisis line call center. But, there’s always a chance they might need one.

So (obligatory ending)…

If you are concerned that somebody you know may be struggling with thoughts of suicide, call (or get them to call) the National Suicide Prevention Lifeline at 1-800-273-8255—Veterans Press 1.

Sylvia Frumkin’s Place

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by JC Schildbach, LMHC

I’d venture a guess that many who enter the mental health field, as with any potentially dramatic profession all the way from police to executives, do so with visions informed by Hollywood. One of the main Hollywood portrayals of the mental health worker is is that of the therapist/psychiatrist as a well-compensated genius, ensconced in a plush office, treating the worried well or other “eccentric” or “neurotic” types, while constantly being admired by clients for one’s observational skill and ability to call forth ‘breakthrough’ moments. The other end of the spectrum is the heroic social worker who, through sheer tenacity, overcomes all the problems an impoverished neighborhood can throw at her, overcoming multi-generational patterns, and very recent traumas, to really, really make a difference in the lives of an entire community.

Many in the field are drawn to books by Yalom, or Rogers, or perhaps even some acolytes of Oprah, who tell us that just by listening and accepting our clients, or by throwing the right bit of tough-love advice a client’s way, true transformation will take place, and clients will make huge leaps forward, forever changing their lives for the better.

Susan Sheehan’s “Is There No Place on Earth for Me?” is perhaps the perfect antidote to the pie-in-the-sky visions of one’s brilliance and dedication making all the clinical difference in the world. It balances out the ideas about the wondrous gift of therapy with the reality of chronic and severe mental illness, and its resistance to ‘ah-ha moments’ and dramatic progress. It pushes past that “we don’t need no medications” mantra, which can, in fairness, apply to a lot of mental health issues.

“Is There No Place on Earth for Me?” was first published as a four part series in The New Yorker in 1981, then published as a book in 1982. For it, Sheehan won the Pulitzer Prize for General Non-Fiction in 1983. A new edition of the book was released roughly a year ago, including a new afterword by Sheehan. On reading about the re-issue in the online version of the New York Times in January of 2014, and having never read it before, I put it on my ‘to read’ list, and eventually checked out an old edition from the library.

Frumkin cover

The book, written from the perspective of a journalist, and not of a therapist trying to convince the readers of the efficacy of particular approaches to treatment, is involved in ways that few case studies can be. Sheehan spent over two years with Sylvia Frumkin (not her real name), a woman diagnosed with schizophrenia. Sheehan had a great deal of access not only to the information on Frumkin’s treatment and behavior during the period when Sheehan shadowed Frumkin, but also to family members and others, getting a great deal of background on Frumkin’s life prior to her diagnosis, and the progress and setbacks that took place before Sheehan had ever met her.

Having had numerous contacts with clients diagnosed with schizophrenia, or suffering from other forms of psychosis, most often from a distance, it took me a while to get through the book. That is, the kinds of delusions, rants, and flights from treatment that plague Frumkin and those trying to help her, and which Sheehan documents in detail, were familiar to me—of course, with Frumkin’s behaviors being particular to her own case. Still, it was like trying to read about many of the most frustrating aspects of work during one’s down time.

For the uninitiated, I imagine the book is much more compelling, rather than overly familiar, and thus, somewhat draining. In discussing “Is There No Place on Earth for Me?” with colleagues, I’ve most often likened it to Kafka’s “The Trial”—a book that is deliberately tedious in its depiction of a bureaucracy more intent on sustaining itself than serving any clear purpose—although, that comparison probably has much more to do with what I bring to the reading of Sheehan’s book than to what she has documented in such depth of detail. Also, I don’t think the mental health system—either now or at the time—is deliberately set up to be frustrating…it just frequently is, particularly for those most in need of help.

In addition to capturing the daily details of the behavior of a (this) client with schizophrenia, Sheehan also does a masterful job of explaining, simply and concisely, some fairly complicated legal, medical, and treatment-related concepts. For instance, Sheehan outlines the concept of “least restrictive” forms of treatment, both the bane and the beauty of our mental health system, which has been around since well before the current lack of options made it so completely mandatory.  In doing so, she answers that most familiar of questions about why we can’t “just lock up” people suffering from chronic forms of mental illness who can become rather taxing to a variety of public and private resources.

The most fascinating elements of Frumkin’s story to me, though, were the ‘side treatments’—pointless, and sometimes dangerous, programs that Sylvia was subjected to. Without going into a great deal of detail, the treatments ranged from moving in with a relative and his family who believed that all Frumkin needed was a good dose of Jesus and discipline to overcome her laziness and wicked ways, to a doctor who felt that manipulating the insulin levels of patients to extreme degrees could cure them of schizophrenia.

Ultimately, what works for Frumkin (or worked back around 1980) is what still works for clients today: a small number of medications that prove effective in treating schizophrenia, as well as (to greatly simplify things) a structured environment and supportive professionals. Unfortunately, said medications can lose their effectiveness over time, or the side effects can become increasingly detrimental to the clients. It is also quite common for clients to simply quit taking their medications, feeling them unnecessary or viewing them as the root cause of various forms of discomfort or other troubles in their lives. In addition, the structured environments can only be maintained for as long as clients are compliant with treatment, and as long as the treatment remains effective, and as long as funding and various programs allow. On top of that, anything from the restructuring of institutions, to changes in law and other policy, to the career changes of providers, to differences of opinion between providers and family members, can lead to new doctors and other providers making changes, sometimes rather arbitrarily, to a client’s medication regimen or support systems. In Frumkin’s case, alterations to her treatment and medications were made numerous times, in the most haphazard of fashions, often by doctors and other providers who seemed ignorant of her case history, or of how the medications work.

One might also note that this book was written back before the U.S., under President Ronald Reagan, decided that people with chronic mental illness enjoy the freedom that homelessness brings. So, Frumkin’s movements within the system are relatively easy in terms of her various forays into decompensation leading to fairly quick, and relatively long-term inpatient placements, with step-downs to semi-independent housing, and other supports that are much rarer today (and for most of the last three decades).

Ideally, Sheehan’s book would be taught in graduate schools, or maybe at earlier levels, by instructors who are familiar with the clinical aspects of schizophrenia; the current and historical treatments for it; and the current and historical state of affairs with regard to mental health facilities, available inpatient beds for clients with mental health issues, and legal and systemic complications to accessing those beds or other program options.

To be clear, it is necessary, as therapists, or in other capacities in the mental health field, to come equipped with a belief that we can make a difference. Without a bit of the dreamer in us, we would never head down this path to begin with.

But it is also necessary for providers at all levels to understand just what they are up against, particularly given that almost all providers in the mental health field will end up doing at least a round or two in the public mental health system–from practicums/internships to early jobs to entire careers–where the most challenging of clients often end up by default—frequently after being abandoned by families and other support systems, including insurance companies.

Frumkin’s family, as dysfunctional as they are, and as frequently detrimental to her treatment as they can be, at least hang in there to the extent that they can—which I imagine was at least somewhat less difficult when hospital beds and supported living options weren’t at such a premium as they are today. In the end, though, this isn’t a story of a family hanging together and triumphing over a terrible disease. It’s the story of a debilitating mental illness, and the toll it takes on the client, as well as those around her, and the wildly inconsistent efforts by a variety of people and systems to help her cope.

Welcome to Sylvia’s Place.

Honey Boo Boo Needs Some Real TLC, Not Abandonment

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by JC Schildbach, LMHC, de-commissioned ASOTP

Not quite a month ago, The Learning Channel (TLC) announced plans to drop production of its ‘reality’ show, Here Comes Honey Boo Boo, as well as shelving an entire season that has been completed, but not aired. The reason? “Mama June” Shannon was photographed out and about with her former beau, convicted sex offender Mark McDaniel. Even worse, a few days after the original story broke, a photo surfaced showing June, Mark, and Alana “Honey Boo Boo” Thompson together.

McDaniel was convicted of “aggravated child molestation” for sexual contact with Anna Marie Cardwell, who is June’s daughter, and Alana’s half-sister. McDaniel served a ten-year sentence for the molestation, having been released from prison in March.

Now, I’m not a big fan of Here Comes Honey Boo Boo.   I’ve seen occasional clips on other shows, and watched most of one episode when I came across it while flipping channels. But in that episode, I saw that the family was accepting of Alana’s uncle, who is gay, without making a big deal about it. And, despite my unease at the general weirdness of the child pageant circuit, the family members seemed to enjoy each other’s company. And then the show concluded with Honey Boo Boo climbing up on a chair and sticking her butt in the air to fart loudly, which, strangely enough, served as the lead-in to a very somber, ‘feed the children’ infomercial.

At any rate, speaking of the weirdness of the child pageant circuit, having seen a few episodes of Toddlers in Tiaras, the TLC show that spawned Honey Boo Boo’s spinoff, I am disturbed by what can only be described as the sexualization of little girls on that show. The contestants are small children who are essentially treated identically to adult beauty pageant contestants—made to wear too much makeup, with piled-up hairdos, wearing a variety of—I guess you’d call them revealing, although that sounds weird when talking about children—dresses and bathing suits, while performing routines involving dance moves that I pray the girls don’t understand the origins/meaning of.

I’ve had offender clients specifically mention Toddlers in Tiaras as a kind of ‘gateway’ form of visual stimulation leading to seeking out even more exploitative material. And, while such ‘gateway’ comments are often spoken with the intent to limit the personal responsibility of those clients—the whole ‘society is sexualizing young girls, what am I to do?’ complaint—it is somewhat difficult to view the show without thinking, ‘Wow—pedophiles must really enjoy this.’

So, while I could start shaming Mama June for putting her daughter in the beauty pageant circuit, or for taking up with a man who molested one of her daughters; instead it seems a better course in all of this would be for TLC to invest some more effort and money in the show, and maybe take it in some completely different directions—maybe even directions that would involve some actual learning.

Broken portrait of an exploited family unit--Anna Marie, Mama June, Honey Boo Boo, and Mark McDaniel.

Broken portrait of an exploited family unit–Anna Marie, Mama June, Honey Boo Boo, and Mark McDaniel.

That is to say, it’s very odd to have a show built on the highjinks of a family that is portrayed as a bunch of unsophisticated rubes chasing a weird dream, and then to turn around and cancel the show when the matriarch of the family does something that shows she really doesn’t understand what’s at stake in a particular situation. According to Anna Marie’s own statements to the media, June minimized McDaniel’s behavior, telling Anna Marie that McDaniel wasn’t all that dangerous because Anna Marie was McDaniel’s only victim.

Such a statement is a big red flag that Mama June just might be buying a whole lot of lies from McDaniels—the kind of lies that offenders tell all too frequently. ‘It was just the one time;’ ‘I was drunk;’ ‘It was a mistake;’ ‘The victim did X first;’ ‘I paid the price/did my time;’ ‘I won’t ever do that again;’ etc, etc.

I don’t know what kind of treatment McDaniel may or may not have received in prison. But unless McDaniel has developed some understanding of his own behaviors, and unless Mama June has been educated on exactly what McDaniel did, how he did it, how he justified it to himself, what kinds of things Mama June needs to look out for in McDaniel’s behavior (preferably coming from McDaniel’s own confession); and unless she’s been given instruction in what McDaniel’s behavior means for the safety of her other children, and how to reduce risk (risk can never fully be eliminated), then it’s a little hypocritical of TLC executives to cut her off, claiming that it is in the best interest of the safety of the children involved.

And just for context, here’s the statement issued by the network at the time of the show’s cancellation: “TLC has cancelled the series HERE COMES HONEY BOO BOO and ended all activities around the series, effective immediately. Supporting the health and welfare of these remarkable children is our only priority. TLC is faithfully committed to the children’s ongoing comfort and well-being.”

Great, TLC, but where’s the support? I’ve seen many mothers of victims continue on in relationship with the men who molested those women’s children. And a supportive and appropriate relationship with an adult partner can actually reduce risk for re-offense. However, that risk isn’t (generally speaking) reduced when the offender is allowed back around likely victims, particularly without the partner being fully informed as to the nature of the offender’s behavior, and how to provide adequate support for the offender and for other family members. But maybe TLC executives are just looking at this as another example of the stereotypes they’re comfortable promoting–of poor, Southern folk accepting child molestation as a routine part of life.

It is potentially extremely damaging for victims of molestation, like Anna Marie, to see their mothers return to relationship with the offender, or to, in any way, be given the impression that they are being treated as secondary to the perpetrator of sexual violence. It definitely sends some disturbing messages about who is being given priority, and where the concern of the mother lies. It is possible to mitigate that damage, but only with some very involved, professionally-guided therapy.

I don’t want to over-simplify things here, but a major reason for women to continue on in relationship with offenders is economic. I don’t have any idea if McDaniel has any real way of providing for June’s family, but since TLC just cut off the family’s current main source of income, they are increasing Mama June’s likely reliance on someone who can provide support—and at a time when the person June is in relationship with is an offender who is very much putting Honey Boo Boo—that “remarkable child”—at risk.

So, again, why not take the show in a new direction? A learning direction? I don’t mean to advocate for making an offender a reality TV star, but TLC could at least build in scenes to Honey Boo Boo’s show, or maybe a spinoff, that follow McDaniel through treatment, and through all of the difficulties he now faces as a convicted offender trying to rebuild a life outside of prison, in conjunction with Mama June’s exposure to McDaniel’s treatment process.  The audience could see scenes of June attending sessions with McDaniel—scenes of McDaniel explaining his ‘offense cycle’ to June, of McDaniel explaining his actual offense to June, of June going through a chaperone class where she learns just what limits need to be placed on McDaniel and his contact with June’s children.

And what about making sure Anna Marie’s okay? How about, instead of channeling any income to McDaniel, any money involved in a standard TLC reality-star fee, over and above the cost of his evaluation and treatment—funded by TLC—goes to Anna Marie to make sure she can get some ongoing treatment herself?  Perhaps let Anna Marie gain some economic benefit from the exploitation she’s already suffered? She’s had various media outlets contacting her to ask how she feels about the man who molested her being released from prison. How about making sure Anna Marie’s not being re-traumatized by all of this? After all, how many victims of molestation really want the molestation being made public, and then want to have to address it, with complete strangers, for the purposes of having it blasted out all over the airwaves and the Internet?

Of course, TLC doesn’t have to do anything in this case. Perhaps TLC executives were grateful that a scandal of this sort came around when Here Comes Honey Boo Boo was pulling ratings of less than half of its peak performance, just so they had a good excuse to cut their losses. Then again, TLC could really do some good in this case. TLC could truly support the “health and welfare” of their child stars. TLC could really help advance public discourse on offenders, offender treatment, and victim advocacy.

Or TLC could just leave Mama June, Honey Boo Boo, and the rest of the clan dangling—dangling over a cliff where falling means families torn apart and potential acts of child sexual abuse—and move on to whatever other ‘reality’ show goofballs America wants to laugh at, until ‘reality’ creeps in and undoes them as well—leaving TLC to cut its losses, abandon its ‘stars,’ and run.

 

Three Frightening Movies that Aren’t Traditional Horror, or Suspense, or…

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Well, Halloween is over, but who cares? You can still keep on scaring yourself, right? Only, rather than the usual gore and mayhem, how about some unsettling horror, the kind that makes you question the reality of the movie, it’s characters, and your own thought processes?

Don’t get me wrong, I’m a big fan of the traditional monsters-and-bogeymen (bogeypeople?) style of horror. But sometimes it’s good to be scared by things that aren’t quite so over-the-top. And speaking of over-the-top, you’re probably already irritated with all the ‘Early Black Friday’ specials and the ‘Holiday’ ads anyway.

The movies listed here also get at some small bit of what it is/might be to cope with various forms of mental illness, or to deal with others who are struggling with it. They spotlight what it is like to be unsure about what is happening, and to have a difficult time understanding what constitutes legitimate forms of support. These are movies that cause a tightness in your chest, and not the kind that is alleviated by the next hissing cat springing out of a cabinet, or garden tool splitting open some body part or other.  They carry with them the kind of dread that has a real impact.

And I’m going to say there’s probably a good chance that these movies should come with some trigger warnings, in case that’s not obvious from the descriptions.

Safe (1995): From Todd Haynes, writer/director of Velvet Goldmine, I’m Not There, and Far From Heaven, Safe sees Julianne Moore as Carol White, a woman who, after much confusion from a wide range of medical, mental health, and ‘other’ providers, is diagnosed with Environmental Illness, a disease that makes her hypersensitive to various chemical agents that are common in everyday life in modern America.

But is she really suffering from anything, or is the disease a physical manifestation of the sheltered nothingness her life has become? The only people who claim to understand her and her disease have clear motivations for convincing her she’s sick, while those who tell her she’s fine seem to lack any concern for her whatsoever.

As much an indictment of the “American Dream” of being completely carefree (there’s no such thing as “safe”), as it is of various forms of mental and physical healthcare, and the lack of clear, irrefutable knowledge to address all maladies (despite ‘professional’ claims to the contrary) Safe will have you clearing your throat, checking your temperature, wondering just what that smell is, and…wait, that’s probably not the best way to encourage anybody to watch a movie.

Safe is a bit difficult to track down. They don’t have it available on Netflix in any format, and Amazon only has it for sale as a DVD or Blu-Ray. Here’s a trailer (that kinda sucks)…

Affliction (1997): Written and directed by Paul Schrader (writer of Taxi Driver, and writer and/or director of numerous other impressive works), based on a novel by Russell Banks, Affliction sees Wade Whitehouse (Nick Nolte) descending into unreality, or perhaps hyper-reality, during what should be the routine investigation of a hunting accident. Having grown up in the shadow of an abusive father, played in frightening fashion by James Coburn, Wade never quite makes it out into the light that might help him establish some reliable sense of self.

An occasionally brutal meditation on familial abuse, PTSD, and other forms of trauma, this one is a slow crawl over gravel, peppered with the occasional hot coal. It’s available right now streaming or by disc on Netflix, as well as on Amazon Prime.

Here’s a trailer (that isn’t all that bad…)

Take Shelter (2011): From Jeff Nichols, also writer/director of Mud, Take Shelter stars Michael Shannon, aka General Zod and numerous other amazing roles, as Curtis, a man convinced that tornado season is bringing something much more sinister than twisters. Curtis jeopardizes his job, his financial security (including money saved for a cochlear implant for his daughter), his friendships, and his marriage to Samantha, played by Jessica Chastain, to build a storm shelter that can keep his family safe from not only storms, but perhaps the end of the world.

Nichols keeps the audience off balance by providing plenty of information that is clearly accurate, or at least witnessed by people other than Curtis, and also including a number of elements we can’t be so sure of. Is Curtis the only one alert to the signs of danger all around? Or is he suffering a breakdown of some kind?

Take Shelter is currently available via disc on Netflix, via Amazon or AmazonPrime in multiple formats, and on Starz—both on-demand and in the regular schedule.

Here’s a trailer (which is pretty darn good)…

So, happy no-longer-Halloween season. And remember, Thanksgiving and Christmas are still a good, long way off…as well as being great times to share disturbing films with family and friends.

Supercharged Sex Pets: The Kia Soul EV Commercial, and Weird Sexist Hamster Science

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by J.C. Schildbach, MA, LMHC, ASOTP

In the commercial for the Kia Soul EV (Electric Vehicle), these hamsters…

Hamster scientist

…have just created some kind of electric-beam-shooting machine that transforms cars with combustion engines into electric cars, but which also inadvertently transforms this hamster…

Hamster ball

…into this hamster…

hamster hottie

…which leads the scientists to run out and get these hamsters…

Hamster cage

…in order to turn them into these hamsters:

Hamster sorority

You can watch the whole commercial here:

Now, I don’t know much about the normal behavior of the average anthropomorphic male hamster scientist, but the ones in this commercial are impulsive and reckless, and just plain engaging in bad scientific practices. It’s bad enough that they leave the newly-created anthropomorphic female porn-hamster alone in the lab, apparently irritating her, and leaving her to do God-knows-what with billions of dollars worth of barely-tested, super-high-tech equipment.

But they also, with complete disregard for their own safety, jump into an untested vehicle and race out of the lab with the intention of creating more female porn-hamsters. They don’t do any kind of systems check on the car, or even wait 30 seconds to, for instance, see if the porn-hamster they just created might have significant problems. Perhaps it suffers from severe physical or mental abnormalities. It could be hyper-aggressive or violent. One of its first actions, after all, was to blow a kiss across the room at one of the scientists, which actually had the electrified power to knock him to the floor. Guys, I don’t think you should be taking this so lightly.

Thankfully, the male hamster scientists make it to the pet store and back, nobody gets hurt, and the porn-hamsters only want to have a dance party.

Still, one has to wonder why these male hamster scientists are so enthralled by what they’ve created. I’ve not paid enough attention to the whole series of hamster commercials to know if the other female hamsters (are there other female hamsters?) in this Kia-commercial world have similar physical attributes to the male hamsters, as in looking like ‘real’ hamsters wearing clothing, or if all the female hamsters have the bodies of (human) Playboy playmates.

It bears asking, would the male hamsters really be attracted to some hideous abomination with the head of a hamster and the body of a human? After all, the female porn-hamsters seem to be attracted to the hamster-bodied males—or else they’re just tolerating them until they can escape. They would have to escape, right? The hamster scientists wouldn’t be so irresponsible as to just unleash these monstrosities on the world without knowing what they might do, right?

In any sci-fi/horror scenario, everything always seems great up front, and then rapidly goes to hell. First it’s a dance party, and then the killin’ starts. Just what can we expect from the porn-hamsters’ Frankenstein/Brundlefly/Jurassic Park moment? Or perhaps the better parallel is with Vincenzo Natali’s “Splice”—wherein genetic experiments lead to the creation of a hybrid human/insect thing that has sex with Adrien Brody and then kills him, and several others.

But, hey, for the Kia Soul EV, it’s still a dance party. We don’t have to worry about sex and murder. They even carefully edited the Maroon Five song that plays throughout the commercial to eliminate the lines “we get along when I’m inside you…I get so high when I’m inside you,” despite leaving in the lines about ‘hunting you down’ and ‘eating you alive.’ So, really, what happens if the porn-hamsters have some sort of melt-down, or revert back to their pre-porn-hamster selves?

Maybe I’m just taking this in the wrong direction. I mean, really, the ad is just a wacky homage to “Weird Science”—right? It’s light and fluffy, and titillating in a bestiality-inspiring way. And having a commercial that’s based on a film where two teens create a woman to satisfy their creepy urges, then turn Bill Paxton into a talking pile of turd, and accidentally end up with a nuclear weapon in their living room in the middle of a house party with uninvited bikers is all just in good fun. No harm done.

Yet, underlying the whole Kia Soul EV commercial is a bunch of disturbing assumptions about gender stereotypes, the ideal woman, and sex in general.

If you break it down we have 1) scientists who are all male;  2) a female who is, at first, kept as a pet locked up in a plastic ball, and then turned into a an anthropomorphic human-Playboy-playmate-bodied porn-hamster; 3) the all-male scientist group racing out to buy more pets that they can turn into a whole roomful of porn-hamsters; and 4) the female porn-hamsters instantly falling in love with the anthropomorphic, male, hamster-bodied hamster scientists.

So, the “men” in this commercial have jobs and are intelligent and seeking to advance science (I mean, holy shit!!–they invented a big ray-gun that can transform the power system of a car, when they could have just worked on engineering a better battery). The “women” in this commercial are initially tiny pets who are kept locked up, and can be sold at any time. Eventually, the pet-women are transformed into sex objects who instantly fall in love with the men, despite nothing happening to inspire love aside from being shot with some mysterious ray-gun that also turns gas-powered cars into electric cars.

And, again, maybe I’m just looking at this the wrong way. Personally, though, I was really creeped out the first time I saw it, and that had nothing to do with the use of a Maroon Five song. I just couldn’t help but think that the underlying story of buying pets to turn them into potential sex partners was just wrong and disturbing.

If you don’t see that, then let me ask you what would be the equivalent if this commercial involved humans instead of hamsters? Would the “pets” be chimps? Monkeys of some sort? Human babies? Tiny little humans that are sold in pet stores? If they weren’t human to begin with, would they retain their monkey/ape faces? If they were human… Well, whatever the angle, it’s pretty damn creepy.

And maybe you don’t see the supercharged sexism because they’re just hamsters, after all, and it’s basically just a cartoon. But cartoons still carry messages, and plenty of them carry messages involving and reinforcing gender stereotypes—most commonly that boys/men are action-oriented and assertive, while girls/women are passive and interested in socializing and being cute.

At base, this Kia Soul EV ‘cartoon’ relays the message that men act on the world, even as they are controlled by their sexual urges, while women (and pets?) exist to be the focus of men’s sexual urges.

Take it into your lab, dissect it, throw it under a microscope, zap it with whatever you want—if you take the time to study it, even a little, it’s far from a cute little ad with fun intentions.  Rather, it’s an ugly, dangerous Frankenstein’s monster of a message to send.

AM I REALLY SUPPOSED TO THREATEN TO SHOOT MY DAUGHTER’S BOYFRIEND?

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I suppose the title question of this piece is something of a moot point, or rather, the threat to shoot my daughter’s boyfriend would be an empty one, as I don’t have any guns with which to shoot my daughter’s boyfriend—or anybody else. I do have a potato gun.  Home invaders take note.

That said, this is the first holiday season where my (adult but still teen) daughter has had a “boyfriend” important enough to her that we had to consider their plans when making our family plans.  And, happily, she spent time with his family, and he with ours.  And I’ll say I like the guy.  I feel that my daughter has chosen wisely and connected with someone who compliments her, and vice versa.

After the Christmas round of holiday gatherings had come to an end, and I had returned back to work, I got to thinking about the all-too-frequent jokes and ‘memes’ I see in social media that involve threats to shoot boys who are taking peoples’ daughters out on dates (probably because I’ve seen several in the last few days—the most recent involving one of those Dick Dynasty beardos whose family values apparently include threatening to shoot other peoples’ children just for expressing an interest in dating his daughter).

Dads take note: if you want to shoot the boys who have had impure thoughts about your teenage daughters, you should probably shoot all the heterosexual teen boys who have ever seen your daughters.  Or so the predictable jokes go—relying on the idea that all dads used to be teenage boys themselves and so know how vile teenage boys are.  And is that how we as men think back on ourselves as teenagers?  That we really were so vile that we would have raped any time the chance presented itself?

And isn’t there some way that those “vile” and “impure” thoughts can be channeled into more positive outlets—say, like normalizing sexual thoughts and providing some guidance on how to deal with those, rather than tying sexual thoughts to threats of violence?  Or do we really believe that our sons are perpetually on the verge of rape?  Do we believe our daughters are so clueless that we cannot trust them with their own bodies?  Do we have to threaten violence against teen boys to make sure that our teen girls come home with their “virtue” intact?

And what if our daughters are not interested in maintaining that barrier?  Isn’t it better that our daughters are taught to understand what they’re comfortable with, and how to communicate that, and to seek out partners who respect that?  And while we’re at it, how about teaching our sons the same?  If boys know that it is okay for them to be “uncomfortable” with regard to sex, or to value girls for the same kinds of things they value their male friends for—common interests, for instance—they might feel a lot less pressure to be so gung-ho about looking at our daughters through such a narrow lens—they might be able to see our daughters as people rather than as sexual targets.

And beyond all that, what is it with adult males feeling the need to threaten the boys/young men who have expressed an interest in their daughters?  At it’s most base expression, this is a pissing contest over sexual access to the females of the species.  It is treating our daughters as property or livestock.  It is sending the message to girls not that their fathers want what’s best for them, but that their fathers don’t trust their judgment.  It sends clichéd messages that girls are not interested in sex, and that only men can be trusted with (and are never to be trusted with) protecting women’s lady parts.  On top of that, it, perhaps unintentionally, sends the message that all men are rapists that need to be stopped by other, more powerful men.

All of this takes on an even more twisted element when we look at how rape victims are treated in this culture.  Girls and women who come forward with complaints of sexual assault are viewed first in terms of what they must have done to invite the sexual assault.  Where were you?  What were you wearing?  Were you drunk?  Using drugs?  Why are you making these accusations?  Men and teenage boys are too often excused for rape, especially if they have some status in the community and/or if their victims can be shown to be (or it can be implied that they are) less-than-perfectly-pure in every way.

The whole “get my daughter home on time or I’ll shoot you” (read: you are not to have sex with my daughter or I’ll kill you) idea plays on the idea that boys/men are incapable of controlling themselves sexually when they have time alone with a girl/woman.  It plays on the idea that girls/women are not to be trusted with their own sexuality or sexual decisions.  Worst of all, perhaps, it plays into adolescent revenge fantasies where girls/women are perpetually the victims or prizes in contests between men–that girls’/women’s chastity counts, but girls/women don’t.

Men in our culture (myself included) are not generally taught how to engage their emotions in productive ways, but to channel everything into problem solving, feelings-dodging, and violence.  It is in this context that we tell our daughter’s boyfriends that we’ll shoot them if they “come home late.”  It is also in this context where we connect violence and sex on numerous levels.

If we as men think of teenage boys as little more than rape machines with faulty safety mechanisms, or worse yet, think that we were rape machines as teenagers, then we excuse the worst of male behaviors as nothing more than biology—hormones acting out the only way they can express themselves—violently.  And that’s simply not true.  It is not only as teenagers that people have powerful sexual urges, or multiple forms of confusion and angst over various aspects of sexuality and relationships; and it is never acceptable for those urges to be translated into violence.  It is as teenagers that we should really be learning how to navigate relationships in a positive fashion.  It is as adults that we should guide teenagers—and that means mentoring our daughter’s boyfriends, not threatening to kill them.

I would much rather welcome my daughter’s boyfriend into the family and make him feel comfortable than to threaten him.  But then again, I don’t imagine my daughter coming home with somebody who I would feel threatened by—someone I would feel the need to engage in a pissing contest.  This is not to say that I feel my daughter is immune to sexual assault, or even bad decisions in choosing guys to hang out with.  It is to say that I do what I can to convey my trust in her, but more importantly, to let her know to trust herself as a whole person.