The Gods Must Be Furious–Chapter Twelve

The gods came together again in their dark, cave-like meeting place.

“The time has come,” Zeus said. “The destruction of the world of the wicked is upon them. There will not be just attacks from the four of us who did so before. Now, all of the gods will contribute to the destruction of the world.”

“First, to take everyone off-guard—that is, everyone who hasn’t and will never heed our warnings—there will be a further sending of them astray,” Poseidon said.

“Many of us will distract the sinners with nonsense of various forms,” Hades said. “Then, when we four attack, the shock that the sinners will receive will feel as terrible as what will physically happen to them.”

“Gods,” Zeus announced to the Olympians, “hit the people in hard, but not devastating, ways. Distract them with pleasure, petty conflicts, the sort of thing that would keep their small minds busy while I, my brother of the sea, our grandmother of the Earth, and my brother of the underworld, prepare the worst for them.”

“As for those of you mortals who have ears to hear, and eyes to see,” Gaea warned. “Take heed. Watch how the troubles of the Earth worsen, and take these for signs that the end is near.”

Michelle woke up in the middle of the night in a cold sweat. She wouldn’t go back to sleep for many hours. She feared not for herself, her family, or close friends. She feared for those who she knew would never listen to the warnings. She thought mostly of her sweet mother, sleeping in the house across the street from her.

She bowed her head and put her hands together to pray: “Please, Athena, keep my mom convinced of the need to go to the box when the time comes. She seemed convinced that it was a good idea when I showed it to her, but I’m still not sure if she’ll really go there with me.”

Gary’s upper half shot up from his pillow, and he gave out a grunt. How many more of these dreams are there going to be? he wondered. Then he thought of Cam, who still didn’t take his warnings seriously. How am I going to save him and his wife from destruction? I got the rest of the family to see the box, but neither he nor his wife will ever come out to see it.

Nina woke with a yelp that woke her husband. 

“Oh!” Steve grunted. “Did you have a nightmare?”

“Well,” she said, “a warning of nightmares to come.”

“Oh?” he said.

“Yes,” she said, breathing fast and heavily. “You’re still going with me to that box when the time comes, right?”

“Yes, yes, of course,” he said, then yawned.

She looked at him, looking for signs of insincerity on his face. She was relieved to find none.

Shelly opened her eyes as soon as Gaea’s words were finished, but she remained calm in her bed. We must be patient, she thought. We must first get through the evil to get to the greater good.

She looked over at her husband on the other side of their bed. He was sleeping peacefully.

She put her head back on her pillow and closed her eyes. 

I have faith in the gods, she thought as she began drifting off back to sleep. They’ll get us all through this. I haven’t been a pagan for all these years out of blind faith. We’ll be OK.

The Gods Must Be Furious–Chapter Eleven

The rich and powerful, however, as well as their sycophantic media, reacted with predictable derision, even though it was people from their very walk of life who were killed in those four incidents. No alternative, scientifically plausible explanations were given for the four incidents. The reporters had simply been given orders to give minimal, if any, coverage of what happened. The gods, wishing to leave them to blunder about in their error, allowed the media blackout.

One example of a conservative commentator on TV had this to say: “Have any of you heard about those four ‘neopagan’ prophets of doom? What were their names? I forget—three women and a man, the man was named Gary, and the women were…Shelly, Nina, and…Michelle, I think? Anyway, just last week, I heard them on a podcast, claiming that—remember those four freak accidents that killed a bunch of rich people: Kurt and Samantha Wells in front of their mansion, killed in the thunderstorm; those people on the Plantagenets’ yacht in the sea storm just off the coast of California; those old men in the country club golf course in Indiana; and the owner of the mine in Texas, the one who fell in and died—anyway, the four neopagans that I referred to before, do you know what…actually, who…they think was the cause of the four accidents?”

“Who?” a female guest on his show asked. 

“Get this…the gods!” He shook his hands in the air for dramatic effect.

Loud laughter was heard for a dozen or so seconds after that.

“You’ve got to be kidding me, Mike!” she said.

“No, really, Vera,” Mike said. “They think these incidents were warnings that the gods are going to destroy the world if those greedy capitalists don’t stop their ecocidal war on the Earth for profit.”

More laughter from both of them.

“When are these la-di-dah liberals going to be destroyed by the gods?” Vera asked. “I’m getting really sick of their nonsense.”

“Me, too,” he said. “It’s bad enough when we get liberals trying to regulate the market, which should be free, punish the successful with high taxes, and burden us with ‘environmentally friendly’ policies. Now we have to deal with nut-cases who, not wanting to face the realities of modern life, indulge in escapism with their weird, heathen religions.”

Vera, still laughing, said, “And these liberals laugh at us for our belief in Biblical creation. They are the ones with the junk science!”

Liberal commentators were hardly kinder than the conservative ones. Other examples of ridicule, if anything ever was said in the media about the four neopagans, came from political analysts on YouTube, for example, this one:

“Look, I believe we need to tax the rich and curb global warming as much as the next guy,” he said. “But angry gods were responsible for those four freak occurrences? And what is the proof that they were the result of divine intervention? Some people claim they saw faces in the shadows of the clouds, the ocean, the grass, and the underground rock? Really? Zeus, Poseidon, the earth mother goddess, and Hades? We’re supposed to believe this nonsense? No offence, here, but somebody needs to lay off the drugs.”

On their own podcast, Michelle, Gary, Nina, and Shelly had to endure endless ridicule from people calling in. After about a half-hour of it, the four of them, in their sensitivity to harsh criticism, couldn’t take it anymore. Examples of comments made include the following:

“You guys do a lot of acid, don’t you? I’ll bet you did way too much back in the Sixties.”

“I bet someone can recommend a good therapist for the four of you.”

“You people haven’t been taking your meds in a while, have you?”

“If I accept Zeus as my personal saviour, will I be saved?”

“There’s only one God, and He ain’t Greek, you know.”

Michelle’s mother expressed her agreement with this last commenter, though for her daughter’s sake, she expressed that agreement much more gently: “I hate to say it, Michelle, but that last comment was right.”

“So, what’s gonna come after your heathen Armageddon, your Ragnarök? Communism? Did Karl Marx come to you in a drug-induced vision and tell you all this anti-American crap?”

“Did you Satanists perform a human sacrifice to appease the devils you worship? If not, maybe you should try it. Kill your local commie Democrat, and maybe you’ll save the day. In any case, you’ll be doing us real Americans a favour.”

Finally, Gary received this comment from Cam: “Gary, you’re embarrassing our family with this pagan nonsense. Please, for the love of God, stop.”

The Gods Must Be Furious–Chapter Ten

Michelle, Gary, Nina, and Shelly went out trying to warn the world online, on TV, on the radio, and in newspapers and magazines everywhere. They wasted no time giving their message maximum circulation.

Naturally, though he didn’t get along with his brother, Gary tried to convince Cam to be prepared for what was surely to come. They were arguing in Cam’s office in the country club.

“Oh, come on, Cam!” Gary said in frustration. “The earthquake at the golf course didn’t convince you, the thunderstorm at the Wellses’ mansion, the sea storm that killed the rich people on that yacht out in the Pacific Ocean, and the death of Lipton in the Texas mine: none of these things is even coming close to making you suspicious of what’s going on?”

“None of it,” Cam said with a smug smirk. “They were just freak accidents, Gary. Stop overthinking what happened. Stop making them into something that they weren’t. Stop making connections where there aren’t any. You and your ridiculous pagan gods. Christ!”

“Cam, I’m begging you. You’re my brother. I don’t want you and your wife to die. Give me an opportunity to get you to a safe place.”

“Gary, I have work to do in this country club. I’m much too busy to be wandering off somewhere to find some ‘giant box.’ We have to repair damages caused by the earthquake. We have customers we have to reassure, so they’ll keep coming back.”

“The earthquake that claimed the lives of at least a dozen members, whom we saw die that day, killed by the gods, who clearly sympathize with neither your business nor your clientele.” 

Cam sighed. “Go home, Gary. Pray to your gods if this is so important to you.”

Gary sighed and left the room, saying, “Well, I tried.”

Many of the common people, though, not just Wiccans and other neopagans, but also many who knew of how supernatural each of the four incidents were, took the warnings seriously and would find the four boxes that Michelle, Gary, Shelly, and Nina told them about. Other boxes would be provided for all the other parts of the world where there was a substantial number of people willing to heed the warnings. They would all manage to fit in, despite the mass of the multitudes, for the gods’ power would help them all find room.

Michelle, for example, was much more successful than Gary was in convincing her family and close friends to go with her and find the huge box provided for them. This was so in spite of the fact that none of them shared her pagan beliefs.

“Here it is,” she said to those in her car as they all looked at the box from the base of a grassy hill where it sat on top. Like all the others, it looked like a giant wooden rectangular crate, though it also shone and glistened in a special way that those who looked at it could intuitively feel it was safe…for the gods were giving them that reassuring intuition. “Isn’t that amazing?”

“Yeah,” her mother said as she looked out the window from the passenger seat beside Michelle. “As strange a thing as that is to go inside, I’m getting this even stranger, but reassuring feeling that I’ll be perfectly safe in it. I’m not getting that reassurance from Jesus, though. I have no idea why I’m feeling that way, but I am.”

“I can tell you why, mama,” Michelle said. “It’s because the gods are giving you that feeling. Everyone who sees those things, wherever they appear on the Earth—and that’s around the world, from the reports I’m getting on social media—gets the same reassuring feeling that they’ll be perfectly safe in those boxes, as unlikely as such a feeling would be had the gods not been telling us.”

“I see,” her mom said, with a skeptical, but open-minded attitude. I insist on there being only one God in three persons—though I’ll admit that I’ve been wrong before. Those books Michelle bought me certainly challenged my faith, and they were written by an Episcopalian, of all people, as I am, so I can’t just dismiss the ideas outright. Finally, there’s that dream I had, which Michelle also had, the exact same dream. I’m still not sure: were the speakers gods, or God’s angels?

Nina was talking to Steve that night about the coming danger.

“Look, honey,” he said. “I’m cool with you practicing your…pagan spirituality, whatever it is…but I don’t share your beliefs in it. I respect your views; can you please respect mine?”

“Steve,” Nina said. “This isn’t about agreeing to disagree. Something terrible is about to happen—all over the world, and I don’t want you to perish in it, because you will, if you don’t come with me to the giant box where it is.”

“I don’t get how we’re going to be safe in a…giant box…from the end of the world, as you’re describing it,” he said. “No offence, honey, but this all sounds crazy. I think you need to see a doctor. As wild and as scary as what happened to me and Lipton at the mine, I’m still convinced it was just a freak occurrence. The voice I heard from the hole must have been a hallucination, because of the stress of the moment.”

“It was the voice of Hades!” Nina insisted. “I heard his voice at the mine!”

“I’m sure there must be some kind of scientific explanation for it. You’re making way too big a deal out of it. The stress from all of your concern for the environment is getting to you.”

“And the stress of being a miner is not getting to you?” she said. “You don’t think flying out of that hole was supernatural? What scientific explanation could cover what happened out there? Look, just come with me in the car, and let me show you where the box is. When you see it, you’ll understand.”

“How is ‘seeing it’ going to make me automatically understand, Nina?”

“I can’t explain it to you, but I know that many other people have had the experience of just seeing one of the boxes, and they know, intuitively, that going in them will be good for them. Please, Steve, indulge me. Let’s just go for a ride in the car and see the box. I’ve seen it; I know where it is.”

“Very well,” he said with an exasperated sigh. “If it will make you feel better, I’ll do what you want.”

“Trust me. You won’t regret it.”

They had been driving for about twenty minutes, Steve sneering and sighing the whole time in the passenger seat of their car. Then, far off on top of a hill, Nina was straining her eyes to see a tiny, shining rectangular box.

“Look!” she said, pointing straight ahead. “There it is!”

“What?” he said, squinting his eyes to see. “I don’t see—“

Then, the rectangle got bigger as they neared it, and it shone more clearly.

“What the—?” he asked, sneering in disbelief.

They were now close enough to see it properly. She stopped the car at the foot of the hill. She looked over at him with a smirk.

“Do you believe me now?” 

He just stared through the passenger window at the shiny giant box, in a trance.

“Let’s make sure we’re here…when the time comes,” he said in a monotone voice.

“Good,” Nina said with a smile. “Very good, Steve.”

Shelly didn’t even bother trying to convince those she knew wouldn’t believe the warnings. She simply planned to take them on rides in her car as she looked for the box. When it was finally found, they would see it, and instinctively they would know to get in when the time came.

“Come on, everybody,” she said to them as they sat bored in the living room, watching a TV that had nothing interesting on. “What do you all say we get in the car, go for a ride, get some fresh air, and have a picnic?”

“OK,” her husband said. “Where will we go?”

“I’ve already prepared the food and drinks,” she said. “Let’s just get in the car, be spontaneous, and I’m sure we’ll find a good place.”

“Well, alright,” her sister, Jeannine, said. “We’ve nothing better to do here, and the weather’s nice out, without being too hot. Let’s go.”

As they were driving and driving, her at the wheel, she was whispering to the gods to guide her to wherever the box was.

“Shelly?” her husband asked as he looked with a sneer at her moving mouth. “Are you talking to yourself?”

“Oh?” she said, then fumbled in her mind for an explanation. “Oh, I’m just singing the words to a song to myself.”

“I don’t hear a melody,” he said.

“Well, you know what a bad singer I am.” 

He chuckled.

Then, she felt a kind of psychic pull in the right direction.

“Oh, I know where to go,” she said, then she took a right turn at an intersection.

“Where’s that?” Jeannine asked.

“You’ll see, soon enough.”

“Where?” her husband asked.

“I want it to be a surprise.”

“Oh, very well, then.”

After another two minutes, they found a hill with a box on it, shining and huge.

“Look up there, everybody, to your right,” she said. “Up at the top of that hill.”

Her husband, sister, and mother all looked out their windows and saw the box.

“Do you all see it?” she asked.

“Yes,” they all said as if in a trance.

Then her husband said, still in that mesmeric state. “I have a feeling…we’ll need to come back here again soon.”

“I have that feeling, too,” Jeannine said.

“Me, three,” her mom said.

“Good,” Shelly said. “Very good.”

She opened her car door and got out.

Her husband got out next. “We’re having our picnic here?”

“Yes,” she said, then shut her door and went to the trunk to get out the picnic basket.

“I like it,” he said as he stared at the box. “I like it a lot.”

“Me, too,” Jeannine said, also staring at the box in a trance.

“Me, three,” their mom said.

I’m so glad I didn’t have to argue with them or convince them, Shelly thought as she took the basket out of the trunk. When it comes to getting people to do things your way, sometimes less is more.

Analysis of ‘A Star Is Born’

A Star Is Born is a 1937 film produced by David O Selznick, directed by William A Wellman, and written by Wellman, Robert Carson, Dorothy Parker, and Alan Campbell. The movie stars Janet Gaynor and Frederic March, with Adolphe Menjou, May Robson, Andy Devine, Lionel Stander, and Owen Moore. It was the first colour film (done in Technicolor) to be nominated for a Best Picture Oscar.

A Star Is Born based its plot extensively on 1932’s What Price Hollywood?, a film that wasn’t as widely known; but the success of the 1937 movie would spawn three remakes–one in 1954, one in 1976, and one in 2018…all three of these being musicals, unlike the original. The 1954 remake parallels the 1937 film much more than the other two, so I’ll be comparing the first two.

Apart from the Best Picture Oscar nomination, A Star Is Born also got nominated for Best Director (Wellman), Best Actor (March), Best Actress (Gaynor), and Best Original Score (which it won), among others. It also won an Academy Honorary Award for cinematographer W Howard Greene.

The film entered the public domain in 1965.

Here is a link to quotes from the movie, and here are links to the full movie.

One could argue that, in a peculiar sense, there is something of the ‘hour of the wolf’ in A Star Is Born, in that it involves a time, according to Ingmar Bergman‘s film (which I analyzed here), when most deaths and births begin. I say this because this film could be just as legitimately called A Star Is Dying as it is called A Star Is Born.

Indeed, just as we see the rise of new movie star Esther Victoria Blodgett (Gaynor), who is renamed Vicki Lester, so do we also see the decline and fall of the alcoholic movie star Norman Maine (March). The movie is far more of a tragedy for him than it is a hurrah for her.

The film begins and ends with an interesting framing device: we see pages of movie scripts indicating descriptions of the opening and closing scenes. Since neither scene indicated is from a film being made with Maine, Lester, or any other movie star in the story, but is rather just a scene from ‘real life,’ we can see in this framing device a sense of when Jacques, in As You Like It, said, “All the world’s a stage…” (or in this case, all the world’s a film set).

In other words, if “all the men and women [are] merely players” of the play or movie of life, then we can see the fakery of all of the posing and posturing that people do, even if they aren’t actors. Indeed, we’ll see much of that fakery in the transformation of naïve farm girl Esther Blodgett into screen siren Vicki Lester, all made up and glamorized. On the other side of the coin, Norman Maine’s descent into alcoholism and resulting fading star are his giving-up of the illusion of glamour and return to dull, vulgar reality.

She begins in the film on her family’s farm in North Dakota. Here, her life corresponds to the earliest of Jacques’s ‘Seven Ages of Man.’ She’s going through equivalents of “the infant” and “the whining schoolboy,” that is, the naïve child who has studied the movies she sees, worships, and dreams of being a part of, while complaining that no one takes her dreams seriously. The naysayers in her life include her Aunt Mattie (played by Clara Blandick, who the viewer may recognize as also having played Auntie Em in the 1939 film adaptation of The Wizard of Oz) and a bratty little brother who mocks her fantasied ‘stardom.’

At the other end is Norman Maine, who in his self-destructive alcoholism is comparable to being in the “last scene of all…second childishness and mere oblivion…sans everything.” Of course, in the middle of the film, both Vicki and Norman are “the lover[s], sighing like furnace,” when they fall in love and get married.

Esther will get some needed encouragement from her Grandmother Lettie (Robson), who gives her some money to go to Hollywood. Of course, her rise to stardom won’t be easy. She can’t even find extra work when she gets to Hollywood and asks around. Equally obvious, though, is that it’s not what you know, but who you know, that determines whether or not you’ll become a star.

In this sense, Esther’s lucky break comes from meeting two important people: first, at her boarding house, she meets assistant director Danny McGuire (Devine), who will get her acquainted with the second important person, Maine, first at a concert (where he demonstrates his drunken loutishness for the first time in front of her), then at a fancy Hollywood party.

It’s interesting, when considering that loutish behaviour of Norman’s when she first sees him in person, to compare March’s portrayal of Maine to James Mason‘s portrayal of him in the 1954 remake. March’s Maine is brusque and gruff, smashing the camera of a nosy paparazzo at the concert, while Mason’s Maine–though equally drunk–is much more charming and cordial. Indeed, the Mason portrayal is much more likable and sympathetic, despite him having the same faults and inadequacies as the March portrayal has.

Later, Danny helps Esther get a screen test from his longtime producer and friend, Oliver Niles (Menjou). Niles is impressed with her and gives her a contract, as well as her new name, derived from her middle name–Victoria shortened to Vicki–and an L added to Esther, making her “Vicki Lester.”

In the process of transforming Esther into “Vicki,” press agent Matt Libby (Stander) asks her a number of questions about herself, and being disappointed with her dull, prosaic answers, invents some romanticized ones to make her origins seem more interesting. She’s also given lessons in enunciation and improving her posture, walking with a book on her head. Among all of these changes and the glamorous makeup job she gets, we can see all of the fakery involved in transforming a humble farm girl into a starlet.

Norman helps Vicki by getting her the lead role, opposite him, in his new film, The Enchanted Hour. The film makes her an overnight star, eclipsing his fame.

Mason’s portrayal of Norman is all the more likable in how he encourages Esther (here played by Judy Garland) to abandon her small dream, of being just a successful singer with a #1 hit song on the Hit Parade, in favour of the big dream of being a successful singer/actress in Hollywood musicals. He is captivated by, and convinced of, her talent when she sings “The Man That Got Away” with her band.

Back to the 1937 movie, Norman proposes to Vicki, and they get married privately, to avoid all the nosy press attention, which annoys Libby; indeed, we see in this an example of how Libby is losing his patience with Norman, who has also promised Vicki to give up drinking. Libby, nonetheless, will make the marriage a publicity matter, and he’ll know that any promises from Norman to give up drinking will prove empty ones.

After Norman and Vicki return from their honeymoon, it becomes clear that as her star is rising, his is not only falling, but it has fallen. It is preferred to have photos taken of her alone over those of both her and Maine, whom nobody really likes anymore. In fact, Niles arrives at Maine’s palatial home to tell him, however reluctantly, the bad news: his last three performances have not pleased the critics, his fan mail, however much it may be, is so cheap to send him that it’s insignificant, and Niles plans to have Vicki star in a film of her own, opposite another rising actor named Pemberton, instead of with Maine. Norman offers to have his contract called off, but Niles still thinks there’s hope, however small, for him to make a comeback.

We can see in all of this an example of the dialectic at work in Vicki’s rise coinciding with Norman’s fall, of her star’s birth vs his star’s death. Indeed, the large ad poster for The Enchanted Hour is changed to say it stars Vicki Lester rather than Norman Maine. His fan mail dwindles, while hers piles up; and finally, his contract with Niles is cancelled after all, as it is reported in the entertainment news.

Norman finds himself idling about at home while his wife is busy working…and this is all at a time when traditional sex roles would have had it the other way around, so Norman can only feel ashamed. When the phone rings, it’s always to ask for her, never for him. To give the ‘househusband’ something to do, he’s learning to cook and prepare food, so he’s made some sandwiches for them to eat when she finally comes home after a busy day of acting. Still trying to leave the booze alone, he’s having a glass of milk with his sandwich.

Their brief moment of happiness together is interrupted by the doorbell. Norman answers it: a deliveryman has a package for Vicki, but he doesn’t recognize Norman, who tells him he’s her husband. He’s then asked to sign for the package, being addressed as “Mr. Lester.” With his depression returning, Norman gives her the package, relays the telephone messages for her (including a table offered at the Academy Award’s ceremony), and leaves their sandwiches and milk to go fix himself an alcoholic drink. There is an equivalent scene to this one in the 1954 film, as there is in the following scene.

At the Academy Awards, Vicki receives one for Best Actress. When she accepts it, a drunk Maine appears and interrupts, gruffly demanding that he receive an award for Worst Actor (he’s too early for the Razzies, which wouldn’t come to be until their first ceremony in 1981). Mason’s Maine, though equally drunk and awkward, is more sympathetic, with him simply asking for more work. The same goes for his accidental slap of Vicki, for which we especially see his pained remorse.

Anyway, to get back to March’s Norman, the juxtaposition of Vicki’s Best Actress Oscar with his wished-for “Worst Actor Oscar” is another example of the dialectic of her rise and his fall. His drunk, frank bluntness as against the sober graciousness and artificiality of the ceremony is another example of that dialectic. Hollywood fakery has been taken to such an extent that, earlier, when Norman was taking phone messages for Vicki, a gossip columnist named Artie Carver said he’d make up a figure for how much Norman supposedly received as a settlement when ending his contract with Niles, after he told Artie he didn’t want any money.

So though winning the Oscar should be the happiest moment of Vicki’s life, the dialectic returns when Norman’s public disgrace can’t make her any sadder. Niles later visits her at her dressing room to congratulate her on her continuing success, but he can see that her grin is meant to conceal her tears. Norman is in a sanitarium, and he really wants to stop drinking, but all she can do is fear for him and his self-destructive nature. (Here’s the equivalent scene from the 1954 film; after her tears, we see her do a number in which she, grinning, sings, “Go and get your long face lost!”.) Niles offers to get another role for Norman.

At the sanitarium, Niles visits Norman and offers him a small, supporting role that Niles insists will have the audience all thinking about Norman throughout the picture, in spite of the role’s brevity. Norman tries to show a positive attitude during the visit, even referring the white-uniformed man–ever so solicitously watching him in case he tries to sneak an alcoholic drink–as “Cuddles.” Too proud to accept such a small film role from Niles, Norman lies to him about being too tied up with other major offers in movies. There’s an equivalent scene to this one in the 1954 film.

At the Santa Anita Park race track, after he’s been let out of the sanitarium and can be trusted not to drink anymore (or so it is assumed), Norman orders a mere ginger ale at the bar. Libby shows up there, too, and now that Norman’s a has-been, Libby can express his dislike and contempt of him all he likes. The altercation leads to an exchange of punches, with Libby flattening Norman. The surrounding crowd assumes he’s on the floor from being drunk again, so in his shame he orders a double scotch. Again, there’s an equivalent scene in the 1954 film.

His drinking binge has gone on for four days, and Vicki and Niles are worried sick about him. They learn he’s been arrested on a drunk driving charge. The court gives him ninety days in jail, but Vicki intervenes, promising she’ll keep a close watch over him if his sentence is suspended. Of course, the gossipy newspapers make a huge drama of the incident.

Back at home, Vicki tells Niles that she plans to give up her acting career to help Norman, who is in bed in the other room. He hears her words and knows he can’t let her sacrifice her talent just for him. Again, there’s an equivalent scene in the 1954 remake that shows a powerful emotional reaction in Mason’s Norman, showing how much more sympathetic his version of the character is. He comes to the conclusion that he must commit suicide (by drowning himself in the ocean) in order to stop her from sacrificing her career; he’ll instead sacrifice his life for her.

But before he does this, he must show her a happy face to cheer her up, if only for the moment. This is especially well done in the 1954 version, once again showing how much more likable and sympathetic Mason’s Maine is. In all four versions, though (in one sense or another), there is Maine‘s touching wish to take another look at her. With his death, she is shattered: “There is nothing sadder than/A one-man woman/Looking for the man/That got away.” Once again, she’s thinking of ending her acting career, now out of grief.

Specific to the 1937 version is Esther’s grandmother intervening to stop her from quitting acting. Lettie tells her of a letter Norman sent her when they got married, stating how proud he was of her and how much he loved her.

So at the end of the movie, with Vicki continuing as Vicki, she announces herself (as she does also in the 1954 version) as “Mrs. Norman Maine,” obviously not to be understood in the traditional patriarchal sense of deference to a woman’s husband, but as a loving tribute to him, a dialectical contrast to when he had been called “Mr. Lester.” As I said above, the film ends with the last page from the script, reminding us that all the world’s a stage.

The Gods Must Be Furious–Chapter Nine

At the appointed time, the four neopagans waited, with other neopagan family and friends, for signs from, again, to use the Greek names that they were all accustomed to using, Zeus, Poseidon, Gaea, and Hades.

After a mere ten minutes of waiting, Shelly and those with her saw a face form in the clouds, one with a beard.

“Zeus,” she called out to the sky. “May I call you Zeus?”

“If you wish, mortal,” the sky-father said in a booming voice. “Your Earth names for us are all acceptable.”

“Thank you,” she said. “What is your will, Zeus? Why are all of these killings happening? We believers suspect your motives, but we want to be sure.”

“We gods have been dormant for millennia,” he said. “Not any longer, though. I tire of the smoke that blackens my skies, and of the acid rain.” His voice was heard in the minds’ ears, as it were, of all the others watching, waiting, and listening for signs in all four mutually faraway places, and anywhere else in the world where people had ears to hear. Cellphones weren’t even needed: the gods made all voices, human and divine, heard as if everyone was in the same room.

Around that time, Michelle saw a face forming in the water near her feet as they, dangling from the pier, touched the surface.

“I have endured the senseless killing of my children—fish, whales, coral reefs, sharks, and all others,” Poseidon said. “I’ll endure the pollution and scathing of my babies no longer.”

Gary was watching the wind blow on the grass of the golf course his manager brother had allowed him to come in. At one point, the wind shaped the grass into a woman’s sad face. His eyes widened as he saw the ‘mouth’ begin to move.

“I have been as patient as I could while trees, grass, bushes, and animals—all my children—have been butchered,” she said in sobs. Gary saw a dew-like tear drop from grassy shadows shaped into her right eye. “I have been prepared to forgive man’s brutality and disrespect. I cannot afford to keep waiting for man to show remorse. Either I kill him, or he kills everything.”

If only Cam were here to see and hear this, Gary thought with a frown on his face. He’d have all the proof he needs; but he never listens to me or opens his mind to any of this! How am I going to save him from the gods’ coming wrath?

Nina was sitting by the opening to the mine, having put away her phone, since she could naturally hear what was being said among the others, who also heard all the voices of the gods and human participants, loud voices from far off, to be heard as if whispered right by their ears, so everyone could participate in this conversation among such far-away places.

Just when Gaea had finished speaking from the grass on the golf course, Nina was startled by the loud, bass voice coming from the hole: “Man is making the Earth his hell, his grave. We will accelerate the process.”

“But, what of us, we who have always honoured you?” Michelle asked when Hades had finished speaking. “Surely you don’t plan to kill the good with the wicked.”

“No,” Gaea said. “You will be spared. But be careful. Take cover as we bring disaster to the sinful. Make sure you distance yourselves from them.”

“Warn the evil, too,” said Zeus. “None of them will listen to you, but at least give them fair warning.”

“They will scoff at you, and mock you,” Poseidon said. “But do what is just.”

“Their scoffing will come back on them…hard,” Hades said.

“But how can we be sure that we will be safe?” Nina asked. “And how can we save innocent children?”

“We will provide…huge wooden boxes…for you to be protected in, giant versions of the chest given to Deucalion and Pyrrha,” Gaea said. “Put as many children in them as you can fit, as well as yourselves, your families, and your friends.”

“Warn the world,” Zeus repeated. “So those with ears, who listen, will come to your boxes and be saved.”

“Yes, Zeus,” Michelle said. “We will do your bidding, and we will look for your boxes.”

The Gods Must Be Furious–Chapter Eight

“I’m telling you,” Michelle typed in a message shared with three other neopagans in a private conversation on Facebook. “There are people who have come forward and said they saw faces in the sky, in the ocean, on the grass in the golf course, and in the underground mine.”

“I’ve heard a couple of claims like that, too,” said Gary to the others. “The claims could be true—we don’t know.”

“What’s interesting, regardless of whether these face stories are true or not, is that all the people killed were rich people publicly known for not caring about the environment at all,” Shelly said. “Not that these connections, of course, were ever acknowledged in the mainstream media, who are on the payroll of the rich. To know the connections, you have to do additional research, as I did.”

“That’s right,” said Nina. “I did a little of that independent research, too. The victims made no secret about their contempt for the poor and for our Mother Earth. Any staff in the areas where these natural disasters occurred survived. At worst, they got a little hurt and a big scare, like my miner husband. Then there are the shared dreams we have all had. All the evidence suggests intervention from the gods to save our planet.”

“So, what should we do?” Gary asked.

“Gary, you live close to that golf course your brother manages,” Michelle said. “How about you go there and wait for signs from Gaea? I’m near the California Yacht Club; I’ll go sit by the pier, watch the water, and wait for a sign from Poseidon. Nina, since you live near the mine in Texas, can you go over there, as close as they’ll allow you, and wait for signs from Hades?”

“My husband’s a miner, as I said before,” Nina said. “Steve was badly hurt and got one hell of a scare from the experience, but thank the gods he’s going to be all right. He refuses to believe the gods had anything to do with what happened, but he can get me inside the property with a key he once stole from Lipton’s office. Now that he is dead, Lipton won’t object to the petty larceny. I can get right up to the holes and listen for Hades’ words.”

“Good,” Shelly said. “I can drive up near the Wells mansion in Vermont. I’ll park there, look up at the sky, and wait for signs from Zeus.”

“We can also message each other by phone to keep the conversation a four-way one, with each god, too…we hope,” Michelle said.

“Great,” Gary said. “Let’s all do this, well, at 10:00 PM my time. You can all work out the time zones in your areas. You know mine: Gary, from Gary, Indiana—so easy to remember.”

The other three responded with “Yeah, lol.”

And before I go on the green in the golf course, I’ll make another attempt to get my brother to listen to me about the coming danger, Gary thought. The rest of our family are opening their minds to this. Please, gods, help me to get him and his wife to open their minds!

Similarly, Michelle prayed, Please, gods, help my mother to see my gods as real as she does her Jesus.

And Nina prayed, O gods, help Steve to understand that he didn’t hallucinate Hades’ voice!