Sunday, 23 July 2017

Luther - Series 1

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Summary: Caucasian self‑contempt.

Whites conflating the Personal with the Political is the basis of this empty, superficial and narcissistic drama. Such conflation is the result of a lack of a home‑life entirely separated from a working, income‑generating one. As those who believe they can satisfy their emotional needs by playing social games &/or by bringing their personal problems into work, this becomes a melodrama that refuses to explore its own premiss.

Work‑related image:

Work-related image…

Criticizing sociopaths for being self‑obsessed comes from the writer’s belief in his own cleverness. Yet there is no god’s‑eye view of the story and its characters, since the writer is as emotionally‑involved in the drama as his characters are; hence, his inability to understand them. Police officers, in real‑life, just cannot get this involved in their cases to the extent that it means taking their work home with them, without becoming somewhat unhinged. Those that do were already somewhat unhinged to begin with and simply use catching criminals as a cover for their deep‑seated psychological and social problems. Yet, this drama does not explore this rather obvious issue; pretending that pressure‑of‑work causes stress, rather than the volitional inability to deal with stress causing work pressures.

White culture here presents itself as a battle‑of‑wills, to prove one person better than another, rather than one of facing‑up to a wider social reality that is being dramatically‑evaded. Not only are the characters unaware of whom they are through a lack of moral grounding, but the writer only has his own emptiness to offer – as if this lack were, in fact, a dramaturgical virtue. Whites live in a permanent war zone, personally and politically, with no relief save the phony‑salvation granted by being the same as other Whites, in the hope that this uniformity will automatically‑produce acceptance and self‑worth.

Work‑related image:

Work-related image…

This series posits human beings as replete with ungovernable and uncontrollable emotions; forever seeking release, yet with no opportunity for satiation. This is a truism of White culture, since that culture offers Whites no true sense of self, without the requirement for the approval of others. Thus, White culture is a doomed enterprise, since one cannot read minds to know if the approval offered is genuine; leading to a never‑ending cycle of ever‑increasing White frustration, vicious anger & narcissistic rage – personal problems inevitably seeking expression in the political arena, as here.

It would be better to hide one’s emotions or, better still, not to have developed such self‑destructive feelings in the first place. But, we are presented here with a childish inability to navigate the psychological landscape of adulthood. Life is not a game, but no‑one here seems to realize this, as if the writer is trying to explicitly‑suggest that White culture is comprised of blood‑sucking vampires. Although this is true, why is it so constructed? The writer never says. Improbable plotting and superficial characters with unlikely abilities and character‑tics reveals a fear of sociopaths, rather than any deep understanding of them - as well as a fear of life and of the dramatic‑muse, itself.

Hysterical, pointless and a waste of good actors’ time, the actors, here, are lumbered with entirely two‑dimensional characters to play. No‑one seems to have any real friends or a functional family life; compounding the sense of perpetual grieving (ie, whining) about their lack in these vital areas. The commercial problem here, of course, is the tendency to mimic American cop‑shows and their generalized lack of psychological nuance; hence, the focus on unusual crimes, like mass murder or serial killing.

This series is a superficial look at the superficiality of White‑culture, which never explains why a Black man (the leading character) would have so little going‑on in his life that he would emulate them? Sadly, the real drama here is off‑screen, unrevealed in the minds of the characters or their actions. There is no‑one here to empathize nor to identify with: An underlying self‑contempt for Whites projected onto all of humanity in order to evade the issue of the well‑known darkness at the heart of White people. (Only Episode Four rises above the mire because of the quality of the guest actors: Rob JARVIS & Nicola WALKER.)

Sunday, 2 July 2017

Private Life, Professional Practice

Original research
needed to precede following dl
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154 pages
Review Format:
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Predominant Genre:

Marie Adams
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Genuine engagement with problems psychotherapists possess can provide the surest means for therapeutic practice.
Advertising | Aggression | Alienation | Capitalism | Character | Coming‑of‑age | Compassion | Corporate Power | Courage | Cowardice | Curative | Curiosity | Destiny | Emotional repression | Empathy | Equality | Ethnicity | Family | Fortitude | Grieving | Guilt | Honesty | Human nature | Humanity | Identity | Ideology | Irrationality | Loneliness | Love | Materialism | Narcissism | Paranoia | Parasitism | Passivity | Persona | Personal | Personal change | Political | Preventive | Propaganda | Rationality | Sadomasochism | Schizophrenia | Solipsism | Western culture | White culture | White people | White privilege | White supremacy
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The Myth of the Untroubled Rapist

Those who choose to enter the profession typically manifest significant psychopathology of their own, which, if sufficiently understood and mastered, may actually enhance their ability to understand and help their clients. From this perspective, personal suffering is a prerequisite for the development of the empathy and compassion that characterize competent therapists.

Summary: Inside every therapist there is a client.

I t is a statement of the bleeding obvious that White psychotherapists have personal problems and may even be quite neurotic – they are, after all, human just like everyone else. It is mostly only psychotherapists, themselves, who buy into the myth of their own infallibility because it makes them feel good.

The psychotherapists’ problem, however, is the desire to hide this obvious fact from their clients in order to suggest that they have conquered life’s traumas and that, therefore, therapy works. Any other way of thinking makes them feel like impostors who cannot help others because they cannot help themselves; making them a psychological danger to the public they claim to help. This desire for professional self‑validation can become more important than actually helping patients; suggesting therapy can only work if it is clearly seen as giving clients a perspective on their lives so that the latter can manage or solve their personal problems and not their therapists.

Pain is pedestrian. It affects everyone. There is no one in the world who has not suffered pain. Money can’t spare you, nor can intellect or fame. Pain can’t be reasoned away, or ignored. By its very nature it will follow you down into every hole in which you try to seek shelter, or every activity with which you choose to distract yourself. Medicine may mask the pain and drive it underground for a while, but it is still there, ready to break through when the drug wears off or the distraction grows thin.

Psychotherapy for Whom?

This further means that the basic problem with modern therapeutic practice can be the belief that all personal problems can be talked about as if they were mental problems. This can lead people with problems to assume that they are illnesses rather than just the vicissitudes of life and that the solutions are, therefore, not their responsibility.

Psychotherapists do this to increase their power, prestige and income by treating the patient as a vicarious source of narcissistic gratification, to relieve guilt, to overcome feelings of helplessness or to gratify their infantile needs. Ultimately, to conceal any psychic problems they have behind a need for a career based pretending to help clean other people’s dirty laundry. Thus, White loneliness makes therapy more lucrative than it need be as therapists pose as mental mechanics for people whose culture never taught them to appreciate themselves for what they are.


People are either mentally‑ill or mentally‑healthy. A mentally‑ill person is trying to make reality fit their emotions. A mentally‑healthy person is trying to make their emotions fit reality. Both groups have problems, the difference lies in the diametrically‑opposed manner in which they attempt to resolve them: The former can never work; the latter might.

Once this distinction is forgotten, merely having problems can so easily be diagnosed as mental‑illness. This does not benefit prospective patients, makes the psychiatric profession appear nothing but mercenary by lining their pockets from non‑existent diseases. It also has the effect of making therapists power over others that can easily be abused, as in Soviet‑psychiatry.


This deceptively‑titled book focuses on all human problems, not just the ones people run away from; making it not so much about therapy as about self‑help. In this way it conflates such affects as grief (healthy) and depression (a sign of disturbance) to suggest that mental‑illness is whatever psychiatrists say it is; suggesting that psychiatry is nothing more scientific than voodoo.

Counselors exacerbate the problem by distinguishing between private practice for affects like grief (which no‑one needs since grief is natural) and potential confinement in institutions for depression (which may be pathological). The former sufferers can more easily treat themselves since they are inside the feeling and are actually and actively‑interested in processing their pain rather than running away from it.

So why pay a therapist for treatment of a non‑existent illness? Why allow a therapist to act as a paid friend when there can be no such thing? Calling patients clients does not make them any more like medical patients, a vain attempt to subvert the medical metaphor constantly being applied in psychotherapy.

Although people do not need to have solved their own problems before helping solve others, they do need to know, at the very least, how to manage them – as the piano teacher needs to know about the piano before they can teach others about the piano.

Parasites who depend on the dependency of others to maintain captive audiences of people in order to derive an income; believing they are gurus preaching perfection in order to obtain followers to worship them. This book is proof that the author still has problems of her own – primarily the belief that the rest of us cannot see how screwed‑up psychotherapists like her really are and that the myth she talks about is only a myth to her fellow practitioners.

White Culture

It is one of the oddities of White culture that normal human processes become both medicalised and pathologised such that help is then needed to navigate ones way through perfectly‑normal emotions – help which is actually not needed. Whites wish to live problem‑free lives to such an extent that any problem is willingly‑medicalised and instant, time‑saving solutions (drugs &/or therapy) sought in a vain effort to pretend that a kilo of cure is worth more than a gram of prevention. Thus, White people’s endemic loneliness is not resolved by making friends, but by making therapists – as if the latter could ever be an adequate substitute for the former.

Therapists have problems too and the belief that they are immune to the mental‑illnesses they treat is a pseudo‑scientific image they, themselves, try to create – to give the false impression that they are practicing hard science. This book is dishonest about this by suggesting it is only therapists and not the entire culture that is at fault. Like White supremacists who claim that only individuals are racist, not entire cultures.

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No science is immune to the infection of politics and the corruption of power.

Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).

Sleep of Reason:

The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.

Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.

Humans & Aliens:

I am human and let nothing human be alien to me.

Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.

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Frank TALKER - Truth-Teller