Alter Ego Funny Quotes

From: Beth Fremont To: Jennifer Scribner-Snyder Sent: Thurs, 09/30/1999 3:42 PM Subject: If you were Superman … … and you could choose any alter ego you wanted, why the hell would you choose to spend your Clark Kent hours — which already suck because you have to wear glasses and you can’t fly — at a newspaper? Why not pose as a wealthy playboy like Batman? Or the leader of a small but important nation like Black Panther? Why would you choose to spend your days on deadline, making crap money, dealing with terminally crabby editors?

Well," Mr. Cheeseman interjected. "Perhaps there's an easy solution to this. Maybe Captain Fabulous has an alter ego." "What's an alter ego?" asked Gerard. "It's a superhero's true but secret identity," said Chip. "You know, the way that Superman is really Clark Kent." "Superman is really Clark Kent?" "It's pretty obvious," said Penny. "To everyone but you and Lois Lane." "Okay," Gerard conceded. "Captain Fabulous's alter ego will be...Teddy Roosevelt.

Do not believe in a god who is as silly, and meaner than you. For, that would surely be your higher-self, and your stupid alter-ego.

And this is the critical point: in a media world where what people shout overshadows what they actually do, the backlash sometimes appears to be the only dissenter out there, the only movement that has a place for the uncool and the funny-looking and the pious, for all the stock buffoons that our mainstream culture glories in lampooning. In this sense the backlash is becoming a perpetual alter-ego to the culture industry, a feature of American life as permanent and as strange as Hollywood itself. Even as it rejects the broader commercial culture, though, the backlash also mimics it. Conservatism provides its followers with a parallel universe, furnished with all the same attractive pseudospiritual goods as the mainstream: authenticity, rebellion, the nobility of victimhood, even individuality. But the most important similarity between backlash and mainstream commercial culture is that both refuse to think about capitalism critically. Indeed, conservative populism’s total erasure of the economic could only happen in a culture like ours where material politics have already been muted and where the economic has largely been replaced by those aforementioned pseudospiritual fulfillments. This is the basic lie of the backlash, the manipulative strategy that makes the whole senseless parade possible. In all of its rejecting and nay-saying, it resolutely refuses to consider that the assaults on its values, the insults, and the Hollywood sneers are all products of capitalism as surely as are McDonald’s hamburgers and Boeing 737s.

Gothic is the genre of fear. Our fascination with it is almost always revived during times of instability and panic. In the wake of the French Revolution, the Marquis de Sade described the rise of the genre as 'the inevitable product of the revolutionary shock with which the whole of Europe resounded,' and literary critics in the late eighteenth century mocked the work of early gothic writers Anne Radcliffe and Matthew Lewis by referring to it as 'the terrorist school' of writing. As Fred Botting writes in Gothic, his lucid introduction to the genre, it expresses our unresolved feelings about 'the nature of power, law, society, family and sexuality' and yet is extremely concerned with issues of social disintegration and collapse. It's preoccupied with all that is immoral, fantastic, suspenseful, and sensational and yet prone to promoting middle-class values. It's interested in transgression, but it's ultimately more interested in restitution; it alludes to the past yet is carefully attuned to the present; it's designed to evoke excessive emotion, yet it's thoroughly ambivalent; it's the product of revolution and upheaval, yet it endeavors to contain their forces; it's terrifying, but pretty funny. And, importantly, the gothic always reflects the anxieties of its age in an appropriate package, so that by the nineteenth century, familiar tropes representing external threats like crumbling castles, aristocratic villains, and pesky ghosts had been swallowed and interiorized. In the nineteenth century, gothic horrors were more concerned with madness, disease, moral depravity, and decay than with evil aristocrats and depraved monks. Darwin's theories, the changing roles of women in society, and ethical issues raised by advances in science and technology haunted the Victorian gothic, and the repression of these fears returned again and again in the form of guilt, anxiety, and despair. 'Doubles, alter egos, mirrors, and animated representations of the disturbing parts of human identity became the stock devices,' Botting writes, 'signifying the alienation of the human subject from the culture and language in which s/he is located.' In the transition from modernity to post-modernity, the very idea of culture as something stable and real is challenged, and so postmodern gothic freaks itself out by dismantling modernist grand narratives and playing games. In the twentieth century, 'Gothic [was] everywhere and nowhere,' and 'narrative forms and devices spill[ed] over from worlds of fantasy and fiction into real and social spheres.