Lesson Plan Über Alles

Get Out Lesson #3: Building Blocks, Signal Phrases, Microaggressions, Atlanta Season 3, Episode 7

Building Block #1 Worth 25 points and due on May 25

Writing Your Introduction Paragraph as an Extended Definition of the Sunken Place

Purpose of Formative Assessment: To build your Essay 4 with your introductory paragraph.

Objectives:

Write an introductory paragraph with a single-sentence definition followed by an extended definition to show a clear understanding of The Sunken Place.
Two. Use appropriate signal phrases and in-text citations.
Three. Use this paragraph as a building block for your Get Out essay.

Building Block #1

Assignment Description

Writing Your Introduction Paragraph as an Extended Definition of The Sunken Place

In your introductory paragraph, define The Sunken Place from the provided research materials above.

Give a one-sentence definition of The Sunken Place and expound on your definition by giving distinguishing characteristics examples from the sources given on the previous modules. Your distinguishing characteristics will be gathered by quoting, paraphrasing, or summarizing major points.

The Purpose of this Assignment

All of my assignments are “building blocks” toward your finished essay, which in online education circles is referred to as your Summative Assessment. By fulfilling the requirements of this assignment, you will have a first paragraph completed toward your essay.

Sources for The Sunken Place:

The Wrap’s Ross A. Lincoln article “‘Get Out’ Director Jordan Peele Explains ‘The Sunken Place’”

The Guardian’s Alex Rayner article “Trapped in the Sunken Place: how Get Out’s purgatory engulfed pop culture”

The Atlantic’s David Sims article “What Made That Hypnosis Scene in Get Out So Terrifying”

YouTube video: “The Philosophy of Get Out--Wisecrack Edition.”

Jet Fuel Review Blog’s Michael Lane article “Living in the Sunken Place: An Analysis of ‘Get Out’”

McMahon’s Breakdown of The Sunken Place

In a previous module, I broke down some of the key ingredients of The Sunken Place. Here is a review:

One, it is a state of hypnosis in which we lose our sense of free will and self-agency as we feel we are succumbing to overwhelming forces that strip us of all control and dignity.

Two, this hypnosis comes from a force that bullies and gaslights us, persuades us that there is no hope for a better life, that the “best thing to do” is to surrender to make the process of losing our freedom as painless as possible.

Three, The Sunken Place suppresses our scream for help. As observed in Ross A. Lincoln’s “‘Get Out’ Director Jordan Peele Explains ‘The Sunken Place,’” Peele discussed The Sunken Place on Twitter as a state of hopelessness and despair: “We’re all marginalized. No matter how hard we scream, the system silences us.” The Sunken Place is to be marginalized by systemic racism and injustice and to have one’s cries ignored and silenced over and over until one is despondent.

Four, The Sunken Place is the result of a raw power play. When Missy Armitage hypnotizes Chris Washington, she lets him know that she has complete power over him by gloating, “You cannot move.” This power play is both psychological and physical.

Five, The Sunken Place is powerful because in part the victim internalizes helplessness. Such internalization is called learned helplessness in which the victim, even if given options to go free, stays imprisoned because the victim has been brainwashed to believe that helplessness is indefinite and therefore there is no such thing as hope. Even if freedom exists, the person who internalizes learned helplessness does not know what to do with freedom. Therefore, freedom becomes useless.

Six, The Sunken Place triggers a fight-flight response. Triggered by terror, people get a spike in adrenaline, rapid heart rate, dilation of pupils, shaking and trembling, and paralysis. We see this fight-flight response at the end of Childish Gambino’s “This Is America” video.

Seven, The Sunken Place is to be humiliated and abused yet to be told that you’re the one who’s crazy because the perpetrator of your humiliation is innocent. As Jake Skubish writes in his article “Get Out, Ta-Nehisi Coates, and the stories we tell ourselves,” the movie Get Out is about narratives that exalt whiteness and marginalize black people. Whites are part of a grand narrative that “weaponizes the lie of white innocence.” Blacks, on the other hand, are not part of the narrative. Pushed aside, they’re pawns and spectators, told to watch the white narrative obediently from their Sunken Place.

Writing Your Extended Definition Requires Knowing the 3 Elements of an Extended Definition

Remember that when you provide an extended definition, you provide three things:

single-sentence definition of the term you’re defining
the class or category that the term belongs to
the term’s distinguishing characteristics.

Instructions:

Step One. Begin Paragraph 1 with a single-sentence definition of The Sunken Place.

For an extended definition, begin with a single-sentence definition. By doing this, you are helping the reader understand the meaning of The Sunken Place.

As we discussed earlier, when you provide an extended definition, you provide three things: a single-sentence definition of the term you’re defining, the class that the term belongs to, and the term’s distinguishing characteristics.

Some of you may be asking, what class does The Sunken Place belong to?

While there is no single right answer, here some suggestions:

Altered state of mind
State of learned helplessness
Primordial fear

Helping your reader have a clear grasp of a central term in your essay makes your writing more clear and effective. The Purdue Writing Lab has an effective description of extended definitions with the link here.

Step Two. Expand your definition with distinguishing characteristics and examples of The Sunken Place.

See the above breakdown for the different characteristics and flesh those out in your paragraph.

Step Three: Use signal phrases for your summary, paraphrase, and quoted content.

It is important that you show your ability to summarize, paraphrase, and quote your source material by using signal phrases, which are short phrases you use to introduce quotes, paraphrased, or summarized content. Here are 6 important components to consider when writing signal phrases:

Review Complete 6 Components of Signal Phrases

Vary your transitions so you're not only using "say" and "write."
Transition from your own writing to quoted or paraphrased material.
Vary your location of the signal phrase, beginning, middle, or end.
Provide credentials of the person being cited in your signal phrase.
Provide correct in-text citations for MLA format, as provided by Purdue Owl.
Return to what you just cited and analyze its significance to your argument.

This YouTube video “Using Signal Phrases to Incorporate Sources into Your Paper” is helpful.

I also recommend “The Basics of MLA In-Text Citations.”

For a fuller explanation of signal phrases, I would refer to my Breakthrough Writer blog post, “Mastering the 6 Components of Signal Phrases.”

List of Requirements for This Assignment

You must include an extended definition of The Sunken Place for your introductory paragraph.
Your distinguishing characteristics of Jim Crow will come from the provided sources in these Modules
As you quote, paraphrase, and summarize major points about The Sunken Place, you will use signal phrases.
In addition to signal phrases, you will use in-text citations. The Purdue Owl MLA in-text citations is helpful.
The length of your paragraph should be between 150-200 words.
You must upload an attachment of your paragraph to Canvas.

How I Break Down Your Grade for This Assignment of 25 Points

Clarity and usefulness of your single-sentence definition of The Sunken Place, 5 points.
Clarity and usefulness of examples you use to flesh out your definition of The Sunken Place: 5 points.
Use of signal phrases and in-text citations to transition from your explanation of The Sunken Place to your quoted, paraphrased, and summarized material: 5 points.
The authenticity of your writing and the degree of meaning you give your subject matter. A writer never wants to just “go through the motions,” that is to say, deliver a perfunctory effort. Deliver the degree of authenticity and meaning this subject deserves: 10 points.

Building Block #2

Building Block Assignment #2: Does Get Out avoid the pitfalls of excessive victimization?

Worth 25 points and due on June 3

Building Block #2 is two paragraphs, which will be used in your essay before your conclusion paragraph.

In your first building block paragraph, you will summarize the criticism exacted against the TV series Them, which has been accused of using excessive victimization and “trauma porn” for entertainment purposes.

For this source material, you will use the following:

Vanity Fair’s Cassie Da Costa and Sonia Saraiya article “Who Is the Racism Horror Anthology Them Really For?”
Harvard Crimson’s Annie Harrigan article “‘Them’ Season One Review: An Accurate Depiction of Racism or Trauma Porn?”
The Vulture’s Angelica Jade Bastien essay “Them Is Pure Degradation Porn”

In your second building block paragraph, you’ll answer the question: Does Get Out avoid the pitfalls and artistic flaws that are charged against Them? Explain in a paragraph.

Essay Outline for The Sunken Place in Get Out

Defining The Sunken Place in Get Out and Making an Essay Outline

We can break down The Sunken Place in Get Out by understanding the following terms:

Paragraph 1:Defining the Sunken Place as Learned Helplessness

Learned Helplessness

When people are brainwashed into believing that they have no free will or free agency to assert effective action against a problem, they become apathetic, feel helpless, and create a self-fulfilling prophecy by which their negative outcomes reinforce their sense of helplessness so that they are trapped in a feedback loop.

There is a point in the movie where Chris stops believing in his senses, and he develops a helpless passivity to Rose’s gaslighting, but when he sees the evil that is around him, he rejects Rose and he begins to fight for his life, using cotton to plug his ears, and deer antlers to destroy his enemy.

Jim Hudson is about to steal Chris’ body and he says, “You’ll live as a passenger, an audience, in The Sunken Place. I’ll control the functions.”

Thesis Structure Example:

Sample #1

In Get Out, the psychological state known as The Sunken Place is effectively illustrated by Chris’ hellish journey, which consists of ___________________, ________________, __________________, _____________________, and _____________________.

Sample #2

Get Out is a microcosm of systemic racism in America that shows racism from a black man’s perspective and how that racism creates a traumatic state of mind known as The Sunken Place evidenced by ______________, _______________, ________________, ____________________, and ________________________.

Sample #3

In the masterpiece Get Out, the protagonist Chris Washington goes deep into the bowels of white liberal America where he descends into The Sunken Place characterized by _________________, __________________, __________________, _______________, and ___________________________.

Body Paragraphs

Two. Code-Switching is a cause and symptom of The Sunken Place:

When black people try to make white people more comfortable or try to pass as white, black people will code-switch, assuming the body language, vocal intonations, and mannerisms associated with whiteness.

The implicit message in code-switching is “White is good. Black is bad. I will try to win you over by being white.”

The motivation for code-switching is shame, self-rejection, and self-apology.

Code-switching teaches us that racism is not merely a bias against people of color; it is a bias against the culture of black people.

There is a cruel irony to code-switching: A lot of people want to act black, be cool, and be down, so they’ll appropriate black mannerisms and speech as their whims dictate; however, these same white people will expect black people to code-switch white to make them more comfortable.

Some other examples of code-switching are in the movie Sorry to Bother You and in the Atlanta episode 9 of season 3.

Three. Microaggressions are a cause of The Sunken Place:

Microaggressions are “small racist acts or comments” done in a spirit of ignorance, condescending patronization, discomfort, or all of the above.

Buzzfeed has a good list to get acquainted with some common examples.

https://www.buzzfeed.com/hnigatu/racial-microagressions-you-hear-on-a-daily-basis

Get Out is full of microaggressions with white people trying to hard to ingratiate themselves, using excessive flattery toward Chris, talking about the great physical wonders that Chris must possess.

Jeremy says that with Chris’ “genetic makeup,” he’d be a great MMA fighter.

Microaggressions can also be expressed as unintentional racism from the privilege of systemic racism. This, too, is a cause of The Sunken Place.

In Get Out, we see intentional racism, a willful attempt to steal black bodies as a metaphor for cultural appropriation.

But we also see unintentional racism. For example, when the cop asks for Chris’ driver's license, Rose becomes self-righteous and hostile, acting like she is sticking up for Chris when her white privilege fails to see she is putting Chris in even more danger.

Dean Armitage is another example. He tries too hard to be nonracist, bringing up his love for Obama every chance he can get. His saccharine manner is condescending and fake. He is a man with something to hide.

When people lard you with their friendly manner like Dean does, they are afflicting you with toxic positivity.

Then there is Jeremy, Rose’s brother, who says to Chris, “With your genetic makeup, you could be a great fighter.”

Four. Gaslighting is a cause of The Sunken Place:

“Don’t trust your senses. I’ll tell you what the reality is.”

Gaslighting is when the bully makes the victim feel like the culprit by turning reality upside down. The gaslighter is so incessant in his gaslighting that he wears down his victim through sheer fatigue.

See “Gaslighting, Explained”

https://www.youtube.com/watch?v=eN4la0xOBdM

See “How to Spot the Hidden Signs Someone Is Gaslighting”

https://www.youtube.com/watch?v=FISZshe9L3s

See “10 Examples of What Gaslighting Sounds Like”

https://www.youtube.com/watch?v=y3t-Jvrr2OY

In Get Out, we see examples of Gaslighting when Chris is worried that Rose’s white parents will be uncomfortable that she is bringing a black boyfriend to their house.

“Do they know I’m black?” he asks.

But Rose repeatedly dismisses his concern as a non-issue. He’s crazy for being so worried even when his past experiences tell him otherwise.

Five. Cultural Appropriation is a cause of The Sunken Place:

When people of the dominant or privileged culture steal the culture of the less privileged for their own desires, they are committing what is called cultural appropriation.

In Get Out, the stealing of black bodies is a metaphor for cultural appropriation.

See the video “What Is Cultural Appropriation?”

https://www.youtube.com/watch?v=VQgF1f557YY

Paragraphs 7 and 8:

Counterargument-rebuttal paragraphs in which you address the possible criticism that Get Out, like the Amazon Prime series Them, is making a spectacle of black suffering, helplessness, and victimization for consumer entertainment and as such displaying this racism in such a flagrant form is exploitive. Do the journeys of Chris Washington and his friend Rod Williams have enough dignity, self-agency, courage, mental toughness, and resistance to avoid the same charges exacted upon the TV series Them? Explain.

In paragraph 7, you might summarize the criticism exacted upon the Amazon Prime series Them.

In paragraph 8, you might then argue whether or not Jordan Peele’s Get Out falls into the same pitfalls as Them.

Paragraph 9: Your conclusion is a short dramatic restatement of your thesis.

Works Cited with a minimum of 5 sources in MLA format follow on the last page.

Sources for The Sunken Place:

The Wrap’s Ross A. Lincoln article “‘Get Out’ Director Jordan Peele Explains ‘The Sunken Place’”

The Guardian’s Alex Rayner article “Trapped in the Sunken Place: how Get Out’s purgatory engulfed pop culture”

The Atlantic’s David Sims article “What Made That Hypnosis Scene in Get Out So Terrifying”

YouTube video: “The Philosophy of Get Out--Wisecrack Edition.”

Jet Fuel Review Blog’s Michael Lane article “Living in the Sunken Place: An Analysis of ‘Get Out’”

Sources for Part 2, which is one page of your essay:

For this source material, you will use the following:

Vanity Fair’s Cassie Da Costa and Sonia Saraiya article “Who Is the Racism Horror Anthology Them Really For?”
Harvard Crimson’s Annie Harrigan article “‘Them’ Season One Review: An Accurate Depiction of Racism or Trauma Porn?”
The Vulture’s Angelica Jade Bastien essay “Them Is Pure Degradation Porn”

Successful College Students Master the 6 Components of Signal Phrases

Review Complete 6 Components of Signal Phrases

One. Vary your transitions so you're not only using "say" and "write."

Two. Transition from your own writing to quoted or paraphrased material.

Three. Vary your location of the signal phrase, beginning, middle, or end.

McMahon writes, "Jeff Henderson's life out of prison was harder than life in prison."

"Jeff Henderson's life out of prison," McMahon observes, "was harder out of prison than in it."

"Jeff Henderson's life was harder out of prison," McMahon claims.

Four. Provide credentials of the person being cited in your signal phrase.

Five. Provide correct in-text citations for MLA format, as provided by Purdue Owl.

Six. Return to what you just cited and analyze its significance to your argument.

Signal Phrases

Purpose to Make Smooth Transition

We use signal phrases to signal to the reader that we are going to cite research material in the form of direct quotes, paraphrase or summary.

You can also call a signal phrase a lead-in because it leads in the quotation or paraphrase.

Grammarian Diana Hacker writes that signal phrases make smooth transitions from your own writing voice to the quoted material without making the reader feel a "jolt."

For students, signal phrases are an announcement to your professor that you've "elevated your game" to college-level writing by accessing the approved college writing toolbox.

Nothing is going to make your essay more impressive to college professors than the correct use of signal phrases.

Purpose to Provide Context

Signal phrases not only establish authority and credibility. They provide context or explain why you're using the sourced material.

Example:

As a counterpoint to Yuval Noah Harari's contention that Foragers lived superior lives to Farmers, we read in culture critic Will Day Brosnan: "Elsewhere, I wondered the extent to which Harari was projecting an idealistic (even Rousseauian) vision of a noble savage on pre-state peoples. His depiction of a foraging lifestyle (‘A Day in the Life of Adam and Eve’) unencumbered by the complexities and worries of civilisational living could be read as reactionary atavism."

Same Example with Different Context:

Concurring with my assertion that Harari is misguided in his Noble Savage mythology, we read in culture critic Will Day Brosnan: "Elsewhere, I wondered the extent to which Harari was projecting an idealistic (even Rousseauian) vision of a noble savage on pre-state peoples. His depiction of a foraging lifestyle (‘A Day in the Life of Adam and Eve’) unencumbered by the complexities and worries of civilisational living could be read as reactionary atavism."

Different Example for Supporting Paragraph

Further supporting my contention that not all calories are equal, we find in science writer Gary Taubes' Good Calories, Bad Calories that there are statistics that show . . ."

Signal Phrase Comprised of Two Sentences

English instructor Jeff McMahon chronicles in his personal blog Obsession Matters that his opinion toward comedian and podcaster Nate Nadblock changed over a decade. As McMahon observes: "Since 2010, I had found a brilliant curmudgeonly podcaster Nate Nadblock a source of great comfort & entertainment, but recently his navel-gazing toxicity, lack of personal growth, and overall repetitiveness has made him off-putting. Alas, a 10-year podcast friendship has come to an end."

Use the above templates and don't worry: you're not committing plagiarism.

As a counterpoint to X,

As a counterargument to my claim that X,

Giving support to my rebuttal that Writer A makes an erroneous contention, Writer B observes that . . .

Concurring with my assertion that X,

Further supporting my contention that X,

Writer X chronicles in her book. . . . As she observes:

Purpose of Credentials: Establishing Authority and Ethos

We often include credentials with the signal phrase to give more credibility for our sourced material.

The acclaimed best-selling writer, history professor, and futurist Yuval Noah Harari excoriates the Agricultural Revolution as "the greatest crime against humanity."

Lamenting that his students don't enjoy his music playlist in the writing lab, college English instructor Jeff McMahon observes in his blog Obsession Matters: "Two-thirds of my students in writing lab don't hear my chill playlist over classroom speakers because they are hermetically sealed in their private earbud universe content to be masters of their own musical domain."

You don't have to put the signal phrase at the beginning. You can put it at the end:

"The Agricultural Revolution is the greatest crime against humanity," claims celebrated author and futurist Yuval Noah Harari.

You can also put the signal phrase in the middle of a sentence:

Racism, sexism, worker exploitation, and pestilence afflicted the human race during the Agricultural Revolution, claims celebrated futurist Yuval Noah Harari, who goes on to make the bold claim that "the Agricultural Revolution was the greatest crime perpetrated against humanity."

"Covid-19 fears make me recall Don Delillo's novel White Noise," writes Jeff McMahon in his blog Obsession Matters, " especially the Airborne Toxic Event chapter in which pestilence affords us a rehearsal for our own mortality."

Varying placement and types of signal phrases helps you avoid monotony, makes you a more impressive writer, and gives you more ethos.

Partial List of Signal Phrases

acknowledges adds admits affirms agrees answers argues asserts claims comments concedes confirms contends counters counterattacks declares defines denies disputes echoes endorses estimates finds grants illustrates implies insists mentions notes observes predicts proposes reasons recognizes recommends refutes rejects reports responds reveals speculates states suggests surmises warns writes

Examples of a signal phrases:

We are fools if we think we were put on Planet Earth to be happy. That is the fantasy of a four-year-old child. Ironically, this infantile pursuit of happiness makes us unhappy. In the words of John Mellencamp: “I don’t think we’re put on this earth to live happy lives. I think we’re put here to challenge ourselves physically, emotionally, intellectually.”

The idea of a meritocracy is that a healthy society allows people with merits, regardless of their economic privilege, to rise to the top of the power hierarchy. However, such a meritocracy does not exist as privilege, not merit, is the dominant force of acquiring power. As we read in Yale Law School professor Daniel Markovits' essay "How Life Became an Endless Terrible Competition": "Harvard, Princeton, Stanford, and Yale collectively enroll more students from households in the top 1 percent of the income distribution than from households in the bottom 60 percent. Legacy preferences, nepotism, and outright fraud continue to give rich applicants corrupt advantages. But the dominant causes of this skew toward wealth can be traced to meritocracy. On average, children whose parents make more than $200,000 a year score about 250 points higher on the SAT than children whose parents make $40,000 to $60,000. Only about one in 200 children from the poorest third of households achieves SAT scores at Yale’s median. Meanwhile, the top banks and law firms, along with other high-paying employers, recruit almost exclusively from a few elite colleges."

Variation of the above:

The idea of a meritocracy is that a healthy society allows people with merits, regardless of their economic privilege, to rise to the top of the power hierarchy. However, such a meritocracy does not exist as privilege, not merit, is the dominant force of acquiring power. According to Yale Law School professor Daniel Markovits in his essay "How Life Became an Endless Terrible Competition": "Harvard, Princeton, Stanford, and Yale collectively enroll more students from households in the top 1 percent of the income distribution than from households in the bottom 60 percent. Legacy preferences, nepotism, and outright fraud continue to give rich applicants corrupt advantages. But the dominant causes of this skew toward wealth can be traced to meritocracy. On average, children whose parents make more than $200,000 a year score about 250 points higher on the SAT than children whose parents make $40,000 to $60,000. Only about one in 200 children from the poorest third of households achieves SAT scores at Yale’s median. Meanwhile, the top banks and law firms, along with other high-paying employers, recruit almost exclusively from a few elite colleges."

Toolbox of Explaining Transitions

After you present the signal phrase and quoted, summarized, or paraphrased material, what do you write?

You explain what you just cited.

To do so, you need a toolbox of transitions:

Writer X is essentially saying that

In other words, X is arguing that

By using these statistics, X is making the point that

X is trying to make the point that

X makes the cogent observation that

X is essentially rebutting the philosophical movement that embraces the position that

X's main point is that

The essence of X's claim is that

Here is a good college link for in-text citations.

Here is a good Purdue Owl link for in-text citations.

Review Complete Package of Signal Phrases

One. Vary your transitions so you're not only using "say" and "write."

Two. Transition from your own writing to quoted or paraphrased material.

Three. Vary your location of the signal phrase, beginning, middle, or end.

Four. Provide credentials of the person being cited in your signal phrase.

Five. Provide correct in-text citations for MLA format, as provided by Purdue Owl.

Six. Return to what you just cited and analyze its significance to your argument.

Posted at 01:33 PM | Permalink | Comments (0)

Breaking Down Get Out into Lecture Parts

Breaking Down the Movie into Its Parts

Shame of black culture by instilling code-switching (see Atlanta episode)

Microaggressions: Death by a Thousand Cuts

Gaslighting: “Don’t trust your senses. I’ll tell you what the reality is.”

Learned Helplessness

Unintentional Vs. Intentional Racism, Atlanta, Sylvia the Nanny

Fear the Cling to Power from Economic Disparity, Atlanta and Reparations

The Grounded Place: What does it mean to be grounded?

Resistance

Brain stealing is a metaphor for cultural appropriation

Metaphors and Easter Eggs

Resistance Vs. Victimization

Posted at 07:59 AM | Permalink | Comments (0)

1C Revised Essay Assignments for Lecture: Fall 2022

1C Revised Essay Assignments for Lecture

Essay 1:

Dieting Is a Fool’s Errand (same)

Essay 2:

Workism and Groupthink Compromise Critical Thinking and Exploits Employees

The Assignment

Read Derek Thompson's essay "The Religion of Workism Is Making Americans Miserable." Then compare the idea of Workism to one or more of the following documentaries and TV shows: WeWork: Or the Making and Breaking of a $47 Billion Unicorn, The Inventor: Out for Blood in Silicon Valley, and Fyre: The Greatest Party That Never Happened, and Severance. For your comparison of Thompson’s essay and the documentaries, develop a thesis that addresses the claim that fraudsters rely on Workism and Groupthink to create a colossal breakdown of critical thinking that causes employees, investors, and customers to become dangerously gullible to the false promises of these mad grifters. As a result, the employees are exploited. Is the following claim legitimate? Why or why not? Explain. Be sure to have a counterargument-rebuttal section in your essay before you reach your conclusion.

Lectures based on the following:

Derek Thompson essay

Burnout generation essay

Fyre

The Inventor

WeWork (and you have the book)

Severance

Chaos Monkeys (book)

Best-selling author of Chaos Monkeys and tech entrepreneur Antonio Garcia Martinez has said that young people right out of college with no organizing principle to their lives and no understanding of the psychological underpinnings of religion redirect their spiritual hunger and find a sort of religious substitute by working for tech companies. These companies become a surrogate for religion, shared transcendent experience, meaningful connection, higher purpose, and the sense of feeling special. To foster this sense of communal mission, the workers can practically live at the tech site, often a large campus, where the employees have access to cappuccino bars, gourmet cafeterias, laundry services, state-of-the-art gyms, yoga studios, wellness centers, and libraries.

The workers live in a glorified dorm where they not only work but become indoctrinated in the virtues of their company CEO who becomes their Dear Leader, a false messiah figure, who persuades everyone that they are on a mission to change the world, create disruption that will bring humanity together, and other saccharine bromides in the service of manipulating the employees to toil long hours and drink the Messiah’s Kool-Aid.

Popular culture is rife with books, movies, TV series, and documentaries about this phenomenon. Megalomania, hyped promises, grift, fraud, and the Cult of the Personality are addressed in the TV series Silicon Valley, Severance, WeCrashed, The Dropout, and Devs and in the documentaries WeWork: Or the Making and Breaking of a $47 Billion Unicorn, The Inventor: Out for Blood in Silicon Valley, and Fyre: The Greatest Party That Never Happened. Combining the Cult of the Personality with Groupthink, there is a colossal breakdown of critical thinking that causes employees, investors, and customers to become dangerously gullible to the false promises of these mad grifters.

There is yet another factor in breaking down critical thinking, the cult-like attitude toward work itself, explained in Derek Thompson's essay "The Religion of Workism Is Making Americans Miserable." The Cult of the Personality, Groupthink, and Workism are part of a potent cocktail for manipulating young people at the workplace. This topic is becoming an obsession of mine, and I suspect I will have my critical thinking students write an essay on this topic.

Essay 3

Read “Winter Dreams” by F. Scott Fitzgerald, “The Swimmer” by John Cheever, watch the Netflix comedy special Homecoming King by Hasan Minhaj, the Netflix documentary White Hot: The Rise & Fall of Abercrombie & Fitch, the Chris Rock documentary Good Hair; the documentary Fake Famous on HBO; the 4-part documentary LuLaRich on Amazon Prime; the movie Uncut Gems; and the movie Private Life. Comparing at least 2 of the works, develop a thesis that illustrates the destructive power of the chimera and its defining characteristics: The chimera hijacks the brain; the chimera causes us to lose our sense of time until it is too late; the chimera “sells” us a false notion of happiness that makes us grotesque; the chimera causes us to seek substitutes for basic human needs such as love, acceptance, belonging, and achievement; the chimera promises us an easy life--Hakuna Matata--then steals everything from us; the chimera is the promise of Ultimate Perfection or Uber Alles that becomes a sort of Holy Grail; the chimera promises to heal the wounds of loss and regret but only makes those emotional wounds worse than before.

Pairing the Above Works for a Comparison with Specific Chimera Focus:

Comparison One: In “Winter Dreams” and Homecoming King, Dexter and Hasan go on a futile quest for the Great White Princess as a way of achieving status and belonging.

Comparison Two: In “Winter Dreams” and “The Swimmer,” Dexter and Neddy lose all sense of time as they get lost in their chimera of glamor and youth.

Comparison Three: In White Hot and Good Hair, the documentaries address how cultural and racial ideals brainwash people into conforming to the “perfect look.”

Comparison Four: In Fake Famous and LuLaRich, the enticement of the easy life--Hakuna Matata--and glamor impede people from living a real, authentic life.

Comparison Five: In Uncut Gems and Private Life, a black opal and the promise of a baby serve as a chimera for happiness, fulfillment, self-control, and status even as the characters’ lives unravel into more and more self-loathing and chaos.

7 Lectures:

“Winter Dreams”

“The Swimmer”

Homecoming King

White Hot

Fake Famous

Uncut Gems

Private Life

Essay 4 Same

Posted at 03:48 PM | Permalink | Comments (0)

Fall 2022 Schedule

8-27 to 12-16

1A 4605 Online

1A 4606 Online

1C Monday and Wednesday 10:15-12:20

1C Monday and Wednesday 2:15-4:20

Office: 12:20-1:20

1A Zoom hours: Tuesday and Thursday 2-3:15

Posted at 01:59 PM | Permalink | Comments (0)

Groundhog Day and Cooked Comparison, Lesson 6

Review Outline for Comparing Jeff Henderson and Phil Connors

Paragraph 1, summarize the memoir Cooked by Jeff Henderson with a focus on Henderson’s character arc or personality transformation
Paragraph 2, summarize the movie Groundhog Day with a focus on Phil Connors’ character arc or personality transformation
Paragraph 3, your thesis: explain the key similarities in Henderson’s and Connors’ personal journeys
Paragraphs 4-8, expound on the similarities in your body paragraphs
Paragraph 9, your conclusion, restate your thesis in emotionally powerful language
Works Cited page, have no fewer than 4 sources

Paragraph 4: They suffer from grandiosity and the false ascent.

Paragraph 5: They must overcome their denial.

Paragraph 6: They must clean their room.

Paragraph 7: They must embrace Cal Newport's notion of the Craftsman's Mindset.

Newport's Career Manifesto

A CAREER MANIFESTO: Be a Craftsman or a Craftsperson

Career advice has fallen into a terribly simplistic rut. Figure out what you’re passionate about, then follow that passion: this idea provides the foundation for just about every guide to improving your working life.

The Career Craftsman rejects this reductionist drivel.

The Career Craftsman understands that “follow your passion and all will be happy” is a children’s tale. Most people don’t have pre-existing passions waiting to be unearthed. Happiness requires more than solving a simple matching problem.

The Career Craftsman knows there’s no magical “right job” waiting out there for you. Any number of pursuits can provide the foundation for an engaging life.

The Career Craftsman believes that compelling careers are not courageously pursued or serendipitously discovered, but are instead systematically crafted.

The Career Craftsman believes this process of career crafting always begins with the mastery of something rare and valuable. The traits that define great work (autonomy, creativity, impact, recognition) are rare and valuable themselves, and you need something to offer in return. Put another way: no one owes you a fulfilling job; you have to earn it.

The Career Craftsman believes that mastery is just the first step in crafting work you love. Once you have the leverage of a rare and valuable skill, you need to apply this leverage strategically to make your working life increasingly fulfilling. It is then — and only then — that you should expect a feeling of passion for your work to truly take hold.

The Career Craftsman thinks the idea that “societal expectations” are trying to hold you down in a safe but boring career path is a boogeyman invented to sell eBooks. You don’t need courage to create a cool life. You need the type of valuable skills that let you write your own ticket.

The Career Craftsman never expects to love an entry level job (or to stay in that job long before moving up).

The Career Craftsman thinks “is this my calling?” is a stupid question.

The Career Craftsman is data-driven. Admire someone’s career? Work out exactly how they made it happen. The answers you’ll find will be less romantic but more actionable than you might expect.

The Career Craftsman believes the color of your parachute is irrelevant if you take the time to get good at flying the damn plane in the first place.

“Drivel” of the Passion Mindset

Or if you reject the craftsman mindset, you can have the passion mindset, which asks how much value your job is offering you.

Newport argues it is only by producing the craftsman mindset that you can create work that you love.

In terms of maturity, the craftsman mindset is the approach of a mature, fully realized human being.

What are the Five Habits of a Craftsman?

1: Decide what capital market you are in. There are 2 kinds of markets –

Winner-take-all: One killer skills with a few winners all over the world (e.g. Hollywood scriptwriter)

Auction: Diverse collection of skills. Here, there are many different types of career capital and each person might generate their own unique collection (e.g. CEO of a Fortune 500 company)

2: Identify your capital type. Ignore this if you are in a winner-take-all market as there’s only one type of capital. (i.e. be among the top 10 script writers in the world to make it in Hollywood)

For an auction market, however, seek open gates i.e. opportunities to build capital that are already open to you. Open gates get us farther faster. Skill acquisition is like a freight train: Getting it started requires a huge application of effort, but changing its track once it’s moving is easy. (e.g. keep moving upwards in an organization and then laterally instead of trying to move laterally and start from scratch)

3: Define “good.” Set clear goals. For a script writer, the definition of “good” is clear – his scripts being taken seriously.

4: Stretch and destroy. Deliberate practice – that uncomfortable sensation in our heads that feels like a physical strain, as if neurons are physically re-forming into new configurations.

5: Be patient. Look years into the future for the payoff. It’s less about paying attention to your main pursuit, and more about your willingness to ignore other pursuits that pop up along the way to distract you.

Six. What is the power of control and how does control result in job happiness?

Giving people more control at work increases their happiness, fulfillment, and engagement.

But you cannot earn safe control without career capital. Think of the lady who quit her job to run yoga studios. She had to go on food stamps.

Paragraph 8: They must learn to serve the community and "love people, not things."

Arthur C. Brooks’ essay “Love People, Not Pleasure.”

"Love People, Not Pleasure" by Arthur C. Brooks

One. Happiness Fallacy:

That a life of power and money can afford you pleasures that will result in happiness. Brooks looks at the most powerful, wealthy people chronicled in history, and even they are miserable 99% of the time.

Part of this misery is due to the "hedonic treadmill," the idea that we acclimate to pleasure so that whatever it is we're addicted to for a spike in endorphins, we become numb to it to the point that we crash and sink into a depression.

All pleasures start out with a spike in dopamine, which becomes addictive, but eventually we need more and more stimulation to experience pleasure and we inevitably burn out.

Jeff Henderson becomes wealthier and wealthier and lives a more and more reckless lifestyle, accumulating cars, flying to Las Vegas with his posse, and his extravagant lifestyle attracts the attention from law enforcement, the feds.

My wife's friend has a cousin who poses with her boyfriend for Instagram photographs, and she has hundreds of thousands of followers. This model can never get enough "likes" and followers. She's addicted to social media attention, she's a slave to posing with her boyfriend for attention, and she is progressively getting more and more miserable. But she can't see her misery. She is in denial.

Like the Instagram model, Jeff Henderson is operating under the fallacy that unbridled pleasure is the key to happiness, and in the process, he fails to develop real connections with people.

Two. The Unhappiness Fallacy:

Actually, we're dealing with two fallacies: That unhappiness is a bad thing and that unhappiness excludes happiness.

Unhappiness is not bad. Unhappiness is normal. Life is full of evil and conflict, so a certain degree of unhappiness is a normal thing.

In fact, addressing evil and engaging with conflict gives life meaning, so we must not avoid unhappiness. Rather, we must struggle against the things that make us unhappy.

Also, unhappiness is a state of hard work that leads to positive outcome. Imagine the piano player who is unhappy playing tedious scales and arpeggios on the piano, but all in the service of improving on the piano.

In life, we are miserable if we don't progress and improve towards a meaningful goal, and this type of progress requires focus, isolation, sacrifice, and hard work, the kind that is not associated with happiness and pleasure.

Every semester, I will have about two or three "star students" in a class. These are hard-working perfectionists who take so much pride in their work that if I were a CEO of a company I would hire those 3 students out of a class of 30. I said such to an employer who called me about a former student, and based on my testimony the student got the job.

Such students are not enamored by short-term pleasure. Such students embrace sacrifice, hard work (not hanging out with their buddies at night so they can study), and see a certain amount of drudgery and unhappiness as essential to achieving their goals.

The second fallacy is that unhappiness excludes happiness. Actually, according to Arthur C. Brooks, the most happy people can simultaneously experience unhappiness.

As Brooks observes:

What is unhappiness? Your intuition might be that it is simply the opposite of happiness, just as darkness is the absence of light. That is not correct. Happiness and unhappiness are certainly related, but they are not actually opposites. Images of the brain show that parts of the left cerebral cortex are more active than the right when we are experiencing happiness, while the right side becomes more active when we are unhappy.

As strange as it seems, being happier than average does not mean that one can’t also be unhappier than average. One test for both happiness and unhappiness is the Positive Affectivity and Negative Affectivity Schedule test. I took the test myself. I found that, for happiness, I am at the top for people my age, sex, occupation and education group. But I get a pretty high score for unhappiness as well. I am a cheerful melancholic.

Three. Misguided Attempts at Happiness Backfire

We can look to all sorts of addicts to see how their addiction, an attempt to escape misery and find pleasure, backfires and results in misery. Of course, there is drug addiction, but there are many others: social media attention, Swiss timepieces, shoes, cars, getting ripped muscles, etc. But the drug eventually becomes the poison. As Brooks explains:

Have you ever known an alcoholic? They generally drink to relieve craving or anxiety — in other words, to attenuate a source of unhappiness. Yet it is the drink that ultimately prolongs their suffering. The same principle was at work for Abd al-Rahman in his pursuit of fame, wealth and pleasure.

Four. Intrinsic Vs. Extrinsic Happiness

Intrinsic happiness refers to character building, the state of our soul, defined by the connections we make with others, creative pursuits, our contributions to society, and our ability to find meaning in suffering.

Extrinsic happiness refers to the materialistic script society hands us: Go to college, get a job so you can make money to buy lots of stuff, show off your stuff to family and friends to win their approval, curate your "amazing existence" on Facebook, etc. Then die and have hundreds of people weep at your funeral.

According to Brooks, intrinsic happiness is the way to go. He writes:

Consider fame. In 2009, researchers from the University of Rochester conducted a study tracking the success of 147 recent graduates in reaching their stated goals after graduation. Some had “intrinsic” goals, such as deep, enduring relationships. Others had “extrinsic” goals, such as achieving reputation or fame. The scholars found that intrinsic goals were associated with happier lives. But the people who pursued extrinsic goals experienced more negative emotions, such as shame and fear. They even suffered more physical maladies.

This is one of the cruelest ironies in life. I work in Washington, right in the middle of intensely public political battles. Bar none, the unhappiest people I have ever met are those most dedicated to their own self-aggrandizement — the pundits, the TV loudmouths, the media know-it-alls. They build themselves up and promote their images, but feel awful most of the time.

That’s the paradox of fame. Just like drugs and alcohol, once you become addicted, you can’t live without it. But you can’t live with it, either. Celebrities have described fame like being “an animal in a cage; a toy in a shop window; a Barbie doll; a public facade; a clay figure; or, that guy on TV,” according to research by the psychologist Donna Rockwell. Yet they can’t give it up.

That impulse to fame by everyday people has generated some astonishing innovations. One is the advent of reality television, in which ordinary people become actors in their day-to-day lives for others to watch. Why? “To be noticed, to be wanted, to be loved, to walk into a place and have others care about what you’re doing, even what you had for lunch that day: that’s what people want, in my opinion,” said one 26-year-old participant in an early hit reality show called “Big Brother.”

And then there’s social media. Today, each of us can build a personal little fan base, thanks to Facebook, YouTube, Twitter and the like. We can broadcast the details of our lives to friends and strangers in an astonishingly efficient way. That’s good for staying in touch with friends, but it also puts a minor form of fame-seeking within each person’s reach. And several studies show that it can make us unhappy.

Five. Jeff Henderson's memoir Cooked is largely about a man who transitions from an extrinsic quest for happiness to an intrinsic quest.

Henderson is miserable and suffering from soul rot during his obsession with finding extrinsic notions of happiness, but his soul finds redemption and he becomes a happier man when he helps the community and his family through an intrinsic search for happiness.

Six. Extrinsic Happiness Is Born from Our Inner Reptile

Our Inner Reptile desires dominance and reproductive success by showing signs of power. Therefore, our instincts are to get as rich, famous, and powerful as we can. But Brooks observes that these unbridled instincts can backfire.

As Brooks observes:

From an evolutionary perspective, it makes sense that we are wired to seek fame, wealth and sexual variety. These things make us more likely to pass on our DNA. Had your cave-man ancestors not acquired some version of these things (a fine reputation for being a great rock sharpener; multiple animal skins), they might not have found enough mating partners to create your lineage.

But here’s where the evolutionary cables have crossed: We assume that things we are attracted to will relieve our suffering and raise our happiness. My brain says, “Get famous.” It also says, “Unhappiness is lousy.” I conflate the two, getting, “Get famous and you’ll be less unhappy.”

But that is Mother Nature’s cruel hoax. She doesn’t really care either way whether you are unhappy — she just wants you to want to pass on your genetic material. If you conflate intergenerational survival with well-being, that’s your problem, not nature’s. And matters are hardly helped by nature’s useful idiots in society, who propagate a popular piece of life-ruining advice: “If it feels good, do it.” Unless you share the same existential goals as protozoa, this is often flat-out wrong.

More philosophically, the problem stems from dissatisfaction — the sense that nothing has full flavor, and we want more. We can’t quite pin down what it is that we seek. Without a great deal of reflection and spiritual hard work, the likely candidates seem to be material things, physical pleasures or favor among friends and strangers.

We look for these things to fill an inner emptiness. They may bring a brief satisfaction, but it never lasts, and it is never enough. And so we crave more. This paradox has a word in Sanskrit: upadana, which refers to the cycle of craving and grasping. As the Dhammapada (the Buddha’s path of wisdom) puts it: “The craving of one given to heedless living grows like a creeper. Like the monkey seeking fruits in the forest, he leaps from life to life... Whoever is overcome by this wretched and sticky craving, his sorrows grow like grass after the rains.”

Seven. Extrinsic Happiness Makes Us Users of People

Brooks writes:

This search for fame, the lust for material things and the objectification of others — that is, the cycle of grasping and craving — follows a formula that is elegant, simple and deadly:

Love things, use people.

Jeff Henderson up to about page 100 or so of his memoir, loves things and he uses people.

Eight. Most of us sleepwalk through life in our quest for pleasure

Brooks observes that our default setting is to seek pleasure and use people, and that most of us aren't even aware of this fact because we are "sleepwalking." As he writes:

This was Abd al-Rahman’s formula as he sleepwalked through life. It is the worldly snake oil peddled by the culture makers from Hollywood to Madison Avenue. But you know in your heart that it is morally disordered and a likely road to misery. You want to be free of the sticky cravings of unhappiness and find a formula for happiness instead. How? Simply invert the deadly formula and render it virtuous:

Love people, use things.

Only because Jeff Henderson hit rock bottom and had his "butt handed to him on a stick" did he wake up from his sleepwalking ways and go on a heroic journey to find redemption for his soul. He learned to love people and use things.

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