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Showing posts with label Eric Packer. Show all posts
Showing posts with label Eric Packer. Show all posts

Thursday, June 7, 2012

Cosmopolis Review: DeLillo and Ayn Rand - Eric Packer and Francisco d'Anconia




Eric Packer:
When he died he would not end. The world would end. (C p.6)
Freud is finished. (dead). Einstein is next. (to die) Their worlds are dead.(C p.6)

Ayn Rand liked to say:
"It is not I who will die, it is the world that will end,"  It is a favorite quote of hers her fans like so much.

Eric PackerThis was the nuance of every poem, at least for him, at night, these long weeks, one breath after another, in the rotating room at the top of the triplex. (C p. 5 )

Gail Wynand in The Fountainhead has his bedroom at the top of his penthouse where it is glassed all around. 

"When she entered his bedroom, she found it was not the place she had seen photographed in countless magazines. The glass cage had been demolished.(F p. 482)

Recognizing that the movement of the system itself is  irreversible, that there's no possible get-out within the logic of the system. That logic is really global, in the sense that it has absorbed all negativities, including the humanist, universalist,  resistance, etc. Pushing to the limit means acknowledging this irreversibility and pushing it to the limit of its possibilities, to the point of collapse. Bringing it to saturation point, to the point where the system itself  creates the accident. Thought contributes to this acceleration. It anticipates its end.  This is the provocative 'commitment', but giving all it's got to imagining the end. (Baudrillard - Paroxysm p. 23)

There is no outside. - Foucault 

Vija Kinski - "But these are not the grave-diggers. This is the free market itself. These people are a fantasy generated by the market. They don't exist outside the market. There is nowhere they can go to be on the outside. There is no outside." (C. p. 90)
"The market culture is total. It breeds these men and women. They are necessary to the system they despise. They give it energy and definition. They are market driven. They are traded on the markets of the world. This is why they exist, to invigorate and perpetuate the system."  (C. p. 90) 
To defy the system with a gift to which it cannot respond save by its own collapse and death. Nothing, not even the system, can avoid the symbolic obligation, and it is in this trap that the only chance of a catastrophe for capital remains. ...For it is summoned to answer, if it is not to lose face, to what can only be death. The system must itself commit suicide in response to the multiplied challenge of death and suicide. (Jean Baudrillard - Symbolic Exchange and Death p. 37)

It is the terrorist model to bring about an excess of reality, and have the system collapse beneath that excess. - Baudrillard 

My idea was to end this era not over a period of weeks and months as happened, but in one day. - DeLillo /Krasny you tube interview

Here DeLillo is mistaken as he and everyone else regard the 2001 dot.com crash (which did take time) as the stock market catastrophe "predicted" by Cosmopolis. My opinion, and others are either following me or changing on their own are now seeing the derivative crash as the "predicted" catastrophe on Wall Street. That weekend during the 2008 presidential election campaign.

But there's something you know. You know the yen can't go any higher. And if you know something and don't act upon it, then you didn't know it in the first place. There is a piece of Chinese wisdom, she said. To know and not to act is not to know.

...That wants you to believe there are foreseeable trends and forces. When in fact it's all random phenomena. You apply mathematics and other disciplines, yes. But in the end you're dealing with a system that's out of control. Hysteria at high speeds, day to day, minute to minute. People in free societies don't have to fear the pathology of the state. We create our own frenzy, our own mass convulsions, .......(C. p85)

You have to understand.”

He said, “What?”

“The more visionary the idea, the more people it leaves behind. This is what the protest is all about. Visions of technology and wealth. The force of cyber-capital that will send people into the gutter to retch and die. What is the flaw of human rationality?”


He said, “What?” (C. p. 91)

“It pretends not to see the horror and death at the end of the schemes it builds


Testifying before Congress Greenspan admitted a flaw in his system. The flaw is rational self-interest (Ayn Rand). Why would these financiers destroy their financial empires? 

“How will we know when the global era officially ends?”

He waited.

“When stretch limousines begin to disappear from the streets of Manhatten.... “(C. 90-91)


......It took them a moment to realize that the panic had reached the power stations - and that the lights of New York had gone out.

She remembered the story Francisco had told her: "He had quit the Twentieth Century. He was living in a garret in a slum neighborhood. He stepped to the window and pointed at the skyscrapers of the city. He said that we had to extinguish the lights of the world, and when we would see the lights of New York go out, we would know that our job was done. (AS p. 1060)


It was exhilarating, his head in the fumes, to see the struggle and ruin around him, the gassed men and women in their defiance, waving looted Nasdaq T-shirts, and to realize they’d been reading the same poetry he’d been reading.”

He sat down long enough to take a web phone out of a slot and execute an order for more yen. He borrowed yen in dumbfounding amounts. He wanted all the yen there was.(C.96-97)

He thought Kinski was right when she said this was a market fantasy. There was a shadow of transaction between the demonstrators and the state. The protest was a form of systemic hygiene, purging and lubricating. It attested again, for the ten thousandth time, to the market culture's innovative brilliance, its ability to shape itself to its own flexible ends, absorbing everything around it. (Marcuse's apt metaphor of Pac-Man here.)

Now look. A man in flames. Behind Eric all the screens were pulsing with it. And all action was at a pause, the protesters and riot police milling about and only the cameras jostling. What did this change? Everything, he thought. Kinski had been wrong. The market was not total. It could not claim this man or assimilate his act. Not such starkness and horror. This was a thing outside its reach. (C. pp. 96-98)(Kathy Chang(e) was a performance artist whose outrageous public performances and leftist politics were largely ignored by the University of Pennsylvania students she performed for, until she set herself on fire. Her 1996 self-immolation prompts an inquiry into the effectiveness of public suicide as a mode of political performance.)

This is Eric Packer's Epiphany. The Burning Man is the pivotal point in the novel.

The car was parked outside the hotel and across the street from the Barrymore where a group of smokers gathered at intermission, tucked under the marquee. He sat in the car borrowing yen and watching his fund's numbers sink into the mist on several screens. Torval (lav-rot/rat) stood in the rain with arms folded. .....

The yen spree was releasing Eric from the influence of his neocortex. He felt even freer than usual, attuned to the register of his lower brain and gaining distance from the need to take inspired action, make original judgments, maintain independent principles and convictions, all the reasons why people are fucked up and birds and rats are not.

The stun gun probably helped. The voltage had jellified his musculature for ten or fifteen minutes (and here we have the "near death" experience where your life before and after separate and diverge, growing farther and farther apart. His Double now is more separated in time than it has been, as we will see in the end.)and he'd rolled about on the hotel rug, electroconvulsive and strangely elated, deprived of the faculties of reason. (Sylvia Plath's Bell Jar is echoed here as she writes a first person narrative of suicidal depression, the electro-convulsive experience and its immediate and long term aftermath.)

But he could think now, well enough to understand what was happening. There were currencies tumbling everywhere. Bank failures were spreading. He found the humidor and lit a cigar. Strategists could not explain the speed and depth of the fall. They opened their mouths and words came out. He knew it was the yen. His actions regarding the yen were causing streams of disorder. He was so leveraged, his firm's portfolio large and sprawling, linked crucially to the affairs of so many key institutions, all reciprocally vulnerable, that the whole system was in danger. 

He smoked and watched, feeling strong, proud, stupid and superior. He was also bored and a little dismissive. They were making too much of it. He thought it would end in a day or two .....and looked more closely at one of the women standing there. (C. p. 115-6)
!IMPLOSION! - Baudrillard through Nietzsche


After seeing Elise outside the theater, eating dinner with her.

He knew he was going in. But first he had to lose more money. ...Then he went about losing the money, spreading it systematically in the smoke of rumbling markets. He did this to make certain he could not accept her offer of financial help. …..but it was necessary to resist, of course, or die in his soul....He was making a gesture of his own, a sign of ironic final binding. Let it all come down. Let them see each other pure and lorn. This was the individual’s revenge on the mythical couple. ….The number seemed puny....But it was all air anyway. It was air that flows from the mouth when words are spoken. It was lines of code that interact in simulated space.

Great financiers know that money does not exist.Gamblers know that money does not exist.
The Jesuits know that God does not exist.- Baudrillard


Didi Fancher - "Money for paintings. Money for anything. I had to learn how to understand money," she said. "I grew up comfortably. Took me a while to think about money and actually look at it. I began to look at it. Look closely at bills and coins. I learned how it felt to make money and spend it. It felt intensely satisfying. It helped me be a person. But I don't know what money is anymore." (C. p. 29)

Vija Kinski - ....Because money has taken a turn. All wealth has become wealth for its own sake. There's no other kind of enormous wealth. Money has lost its narrative quality the way painting did once upon a time. Money is talking to itself. (C. p. 77)

He watched the president of the World Bank address a chamber of tense economists. He thought the image could be crisper. Then the president of the United States spoke from his limo in English and Finnish.....He knew they would figure it out eventually how he'd made it happen, one man, bereaved and tired now.(C. p. 140)

Eric Packer will end up in Hell's Kitchen where he grew up, where he goes for a haircut, where he is hunted by his assassin where Gail Wynand was when he was young and prey and where he goes when he caves in to save The Banner, betraying Roark. Eric Packer will die there and Gail Wynand will have Roark build the skyscraper with his name there.
_______________________________________________________________________
But it was the threat of death at the brink of night that spoke to him most surely about some principle of fate he’d always known would come clear in time.

Now he could begin the business of living.“(C 107)
___________________________________________________________________
Dagny has gone to the Wayne-Faulkland Hotel to confront Francisco as the San Sebastion Mines have been seized by the People's State of Mexico.

I came here to ask you a question. ...The San Sebastian disaster....You did it consciously, cold-bloodedly and with full intention.

What was it I did with full intention? he said.

The entire San Sebastian swindle.

What was my full intention?

That is what I want to know.

...Don't start telling me that you gained nothing. I know it. I know you lost fifteen million dollars of your own money. Yet it was done on purpose.

You didn't give a damn about that Mexican government,...because you knew they'd seize those mines sooner or later. What you were after is your American stockholders.

...That's part of the truth....It was not all I was after. ...They thought it was safe to ride on my brain, because they assumed that the goal of my journey was wealth. All their calculations rested on that premise that I wanted to make money. What if I didn't?

...If you didn't want to make money, what possible motive could you have had?

Any number of them. For instance, to spend it.

To spend money on a certain, total failure?

How was I to know that those mines were a certain, total failure?

How could you help knowing it?

Quite simply. By giving it no thought. 

...Did you intend for me to notice that if you think I did it on purpose, then you still give me credit for having a purpose?

...didn't you enjoy the spectacle of the behavior of the People's State of Mexico in regard to the San Sebastian Mines? Did you read their government's speeches and the editorials in their newspapers? They are saying that I am an unscrupulous cheat who has defrauded them. They expected to have a successful mining company to seize. I had no right to disappoint them like that.....

He laughed lying flat on his back: his arms were thrown wide on the carpet, forming a cross with his body; he seemed disarmed, relaxed and young. 

It was worth whatever it cost me. I could afford the price of that show....

And that's not all they didn't know, he said. They're in for some more knowledge. There's that housing settlement for the workers of San Sebastian. It cost eight million dollars. Steel-frame houses, with plumbing, electricity and refrigeration. Also a school, a church, a hospital and a movie theater. A settlement built for people who had lived in hovels made of driftwood and stray tin cans. My reward for building it was to be the privilege of escaping with my skin, a special concession due to the accident of my not being a native of the People's State of Mexico. That workers' settlement was also part of their plans. A model example of progressive State Housing. Well, those steel-frame houses are mainly cardboard, with a coating of good imitation shellac. They won't stand another year. The plumbing pipes - as well as most of our mining equipment - were purchased from dealers whose main source of supply are the city dumps of Buenos Aires and Rio de Janeiro. I'd give those pipes another five months, and the electric system about six. The wonderful roads we graded up four thousand feet of rock for the People's State of Mexico, will not last beyond a couple of winters; they're cheap cement without foundation, and the bracing at the bad turns is just painted clapboard.  Wait for one good mountain slide. The church, I think, will stand. They'll need it.

Francisco, she whispered, did you do it on purpose?

...Whether I did it on purpose, he said, or through neglect, or through stupidity, don't you understand that that doesn't make any difference?


...She looked at him blankly. What are you trying to say?

I am saying that the workers' settlement of San Sebastian cost eight million dollars,...The price paid for those cardboard houses was the price that could have bought steel structures. So was the price paid for every other item. That money went to men who grow rich by such methods. Such men do not remain rich for long. The money will go into channels which will carry it, not to the most productive, but to the most corrupt. By the standards of our time, the man who has the least to offer is the man who wins. That money will vanish in projects such as the San Sebastian Mines.

...Is that what you're after?

Yes.

Is that what you find amusing?

Yes.

I was thinking of your name, she said....It was a tradition of your family that a d'Anconia always left a fortune greater than the one he received. (Here's the "gift" and the "counter-gift".) 

Oh yes, my ancestors had a remarkable ability for doing the right thing at the right time - and for making the right investments. Of course, 'investment' is a relative term. It depends on what you wish to accomplish. For instance, look at San Sebastian. It cost me fifteen million dollars, but those fiftteen million wiped out forty million belonging to Taggart Transcontinental, thirty-five million belonging to stockholders such as James Taggart and Orren Boyle, and hundreds of millions which will be lost in secondary consequences. That's not a bad return on an investment, is it, Dagny.?

She was sitting straight. Do you realize what you are saying?

Oh, fully! Shall I beat you to it and name the consequences you were going to reproach me for? First, I don't think that Taggart Transcontinental will recover from its loss on that preposterous San Sebastian Line. You think it will, but it won't. Second, the San Sebastian helped your brother, James, to destroy the Phoenix-Durango, which was about the only good railroad left anywhere. 

..Do you _ ...do you know Ellis Wyatt?

Sure. 

Do you know what this might do to him?

Yes. He's the one who's going to be wiped out next. (AS pp. 115- 121)

There are more resonances for the reader to find if she wishes. After reading this does anyone dare to say that Francisco d'Anconia was a self-destructive loser who lost millions? No? I thought not. And if anyone had dared say that, Rand would have chopped her up in teeny tiny pieces. 

Why then have all the reviewers, all the academics, Cronenberg, and all blogs on Cosmopolis said that Eric Packer is a self-destructive loser? Are there really that many people out there who have misread DeLillo's book?

Yeah. I guess so.

Monday, May 28, 2012

Für Elise - a non-review


“It came to me…that I didn’t want to be anywhere else in the world at that moment, that what I was feeling at that moment justified all I had been through, because all I had been through was my being there. I was experiencing…a new self-acceptance, a sense that I had to be this mind and this body, its vices and its virtues, and that I had no other chance or choice.”
― John Fowles, The Magus

"Without everything just as it was, with nothing altered and holding nothing alterable, nothing at all - not even the most transient, ecstatic moment of happiness or joy - can have been. Causality works forwards in this kind of passionate affirmation only by working backward like the ray of sunlight Nietzsche sees shining on his life: “I looked backwards, I looked forwards, never did I see so many and such good things at once.” Nietzsche’s account, telling his life to himself, thus works upon his life as a benediction. And it is this benediction which transfigures the glance, transfiguring
what was into what was willed as such, which is the meaning of what it is to will backwards, declaring: “how could I fail to be thankful to my life?”
 (EH Epigraph,KSA 6, p. 263)"
- in Babich, Nietzsche's Imperative as a Friend's Encomium: On Becoming the One You Are, Ethics, and Blessing

"Everything in our lives has brought us to this moment".
Benno to Eric in Cosmopolis (the book and the movie!)

Without Elise, there's no all of Eric in the movie. Without Elise, this everything Benno talks about is NOT everything, it's just what's in Eric's world. Elise is not in Eric's world, she is Gradiva, Euridice taking him out of the limo, seducing him who has it all and wants nothing but a haircut into having no choice in the end. Having no choice but to accept the irreversibility of his Destiny and not look back on destroying the circulating capital, his money, her money because of a yen. And not just to accept it, but to love it seeing it for what it is.

What is money to a poet, she says, love the world and trace it in a verse. Without Elise there's no love of the world. No Elise makes the movie as detached as Eric is in it. Cosmopolis the book is a verse. Cosmopolis the movie is not, it's a movie.

Instead of words from the book, Cronenberg says he gives an actor's face.
This post is for Elise's face missing in the movie when Eric realizes he loves her and she slips away.
For Elise, the face of love. The kind of love which sprungs out mysteriously in unexpected places; which enables, is not selfish, makes one do foolish things and wear turbans, which supports and understands without asking, which gives and makes one free to be a gull at dawn, anything and everything one can be. Which makes one an overman. Even if everything and anything one is, is dead in the end. Precisely because that which one ultimately is in the end is dead .

Amor fati, nothing altered, nothing alterable.

Review: Cronenberg's Cosmopolis: Decaffeinated and Defanged DeLillo


Eric Packer

Difficult as it is to review a film you haven't even seen I am not to be stopped. Cronenberg has told us what is NOT in the film.And so has blackbeanie who saw it in Cannes. Is that so we won't be disappointed?

OK.  I.  Am. Not.  Disappointed.

I. Am. Furious!

A terrible reading of DeLillo's savage with teeth novel.

A fantastic one time chance from the universe
To throttle cyber-capital
Wrestle it to the ground
And finish it
And he fucking blows it

Jean Baudrillard: THE SPIRIT OF TERRORISM
Requiem For the Twin Towers; Hypotheses on Terrorism; The Violence of the Global
2002 - Verso

Baudrillard following Nietzsche:
Capital stripped bare by Speculation itself, like the bride by her bachelors. What becomes of Capital once the veil of Profit is lifted? What becomes of Labour once the veil of Capital is lifted?(Baudrillard - Cool Memories II 38)

Contrary to the historical slogan which says that the 'emancipation of the workers will be achieved by the workers themselves', we have to accept that Capital will be put to death by Capital itself or (not at all). (CM II 38)

But it will be Baudrillard who will go all the way with Nietzsche. Baudrillard will tell us how to end the evil of anything. Push it to the limit and beyond, worse than worse, and then it will suicide. This is what DeLillo has Eric Packer do by imploding the speculative currency market.  Eric Packer wants all the yen there is.

Yen is the important currency here in a Lacanian sense of yen/want/desire-lack/need-satisfaction, but Cronenberg prefers the literal up to the day yuan because he misreads the text of the novel. 
Please excuse him tho as he read it in one sitting and did the screenplay in 6 days. Ah Evelyn Wood, are you happy now?

Someone tell him about Lacan, please.

Slavoj Zizek: LESS THAN NOTHING
HEGEL And The Shadow of Dialectical Materialism
2012  - Verso


....why cyber-capitalists appear as the paradigmatic capitalists today _....What we have here is an ideological short-circuit between two versions of the gap between reality and virtuality: the gap between real production and the virtual or spectral domain of Capital, and the gap between experiential reality and the virtual reality of cyberspace. ....haunted by the notion of a global catastrophe lurking just around the corner, threatening to explode at any moment. 


It seems as if the gap between my fascinating cyberspace persona and the miserable flesh which is "me" off-screen translates into the immediate experience of the gap between the Real of the speculative circulation of capital and the drab reality of the impoverished masses.( LTN p.245-246)


eXistenZ anyone? How about The Hunger Games?


BTW this by no means has anything pejorative to do with Rob Pattinson's performance as he has been directed to perform, controlled by the script written in 6 days BTW. Cronenberg is so proud of this fact. I bet he can read Zizek's Less Than Nothing and its 1000 pages really fast too. Not to mention Lacan's Ecrits.


___________________________________________________________________________________
Postscript Monday June 25 2012


From: http://notcoming.com/reviews/trishna/


Trishna, Winterbottom’s third adaptation of a Thomas Hardy novel, is a take on Tess of the d’Urbervilles that’s loaded with risks, big changes that nevertheless amount to a worthy attempt to capture what film theorist André Bazin would call the “spirit” – rather than the exact letter – of the novel on which it is based.


.....But to go back to Bazinthe elusive “spirit” of the novel, particularly its strong element of social critique, is transformed but still vitally present in this film. 


...Most festival screenings are met with a round of applause when a film’s credits begin to roll, but the theater was silent after Trishna’s brutal denouement. I took this less as an indictment of the film’s quality than an indication that what had just unspooled required some serious thought and digestion, and to my mind, that’s a wonderful mood for any work of art to inspire. Winterbottom is not always an easy director to handle, and that’s one of the things that recommends him most.

Monday, May 21, 2012

The MOXIE: Terence Davies and Terence Rattigan: The Deep Blue Sea

Set in the 1940's this is a beautiful movie. It is shot in soft focus under low illumination, creating an illusory experience of filming that exactly captures what a romantic film was like in those times of 70 years ago. Everything is soft, lovely and romantic. Rachel Weisz is unforgettable in her vulnerable beauty.


It is a story of passion which we see right in the beginning with sensuous sex. What is unusual about this film is that the dialogue is written for adults, and sounds like dialogue did back then. There are no obvious props of the time period screaming at you, "See, I am authentic. Notice me." Yet everything appears as it did at that time without any obviousness. None of that stuff so meticulously and boringly done by Francis Lawrence in Water For Elephants. Just wall paper looking depressing and fussy as it did then, the lighting subdued, the music on records a little scratchy and seductive. 


At the same time we are seeing a sad love affair we are also seeing two people who are caught in seeing and feeling love and sex the way their world has taught them to see and feel it through the popular music. They are as caught up in playing their parts as we are now. They play two lovers caught up in playing lovers as suggested in all the romantic songs of their era, perfectly chosen.


They are as caught as Eric Packer is caught in his screens. 


Only Weisz's character Hester begins to see through this charade. She is experiencing a deep passion in her body and mind. She has succumbed to the template of Iseult: passion love and death. She knows Freddie is playing a role and she isn't. It is real for her and she knows it is not for him. And this begins to eat at her and destroy her. Her affection for her husband is real, and as his affection for her grows, he is still unable to break out of his conditioning, the Inscription of His Body and Mind to claim her. 


So we see her abandoned and sobbing at the end, not knowing what she will do next. An ambiguous ending. A film so perfectly done it might really be 70 years old. An original - not a counterfeit, a copy or a simulacrum - an original filmed in our own time, by a filmmaker who has not forgotten what it means to see.

Monday, April 23, 2012

Roadside Attractions: MARGIN CALL : Seeing It Through Post Modern Thought




A perfect movie although not why you might think.

For an excellent review from the NY Times: Go here.

The financial crash of 2008, predicted by DeLillo in Cosmopolis and by Rand in Atlas Shrugged, albeit both clairvoyants saw it differently.

Derivatives: Just in case you don't really know what they are:

Take your mortgage with all its pages and shred it into almost microscopic bits, so teeny-tiny, itty-bitty that you can hardly even see these pieces. OK so far? Then take each of these pieces of dust and put each one in a separate invisible box. You will need hundreds of millions of boxes. Do the same for another mortgage, and another, and another........in fact to millions of mortgages until you fill each invisible box with millions of infintesimal pieces of specks. Of course the computer does all this on its hard drive, but just so concrete thinkers like me can visualize it in imagination like topological math of imaginary space.

Each imaginary box is one derivative, holding millions of pieces  representing one mortgage for each piece. See how representation breaks down in POMO thinking. Now these boxes are bundled and sold as securities, much like real mortgages used to be bundled and sold to spread the risk. Then if one mortgage went into default it didn't matter too very much because it was only one in a bundle. Now the bundles of derivatives have such a tiny particle of almost nothing that it couldn't drag the price of the bundle down if it wanted to. Voila! Foolproof! Now to get them insured by the highest triple A rating so they could also be sold to pension funds, as there are zillions of pension funds circulating all over the world!

This is simulated reality. There is no product. There is no reference point -house, building, paper mortage for that house or building, no bundle of papers, just nada. Just "floating signs" of investment paper, that investment bankers, investors, pension funds are buying, completely worthless except since people are buying them in droves and paying billions, how can they be worthless?

So now we get to Baudrillard's work on consumption, the commodity, Marx, labor, and sign. Consumption is no longer consumption of real objects, but consumption  of signs, "floating signs" which these bundles of derivatives were as are other commodities. (Vija Kinski: your condo is worth the number you paid for it.)Do you buy the Tommy Hilfiger shirt because it's a wonderful shirt, or are you buying it because the design screams Tommy Hilfiger? Do you buy the bundle of derivatives because the broker sells you on them, or because the broker is working at the prestigious Goldman-Sachs Corp? Do you buy them because it has that triple A rating? A sure bet. A safe bet. No risk security. Seems even better that a govt bond which is backed by the full faith of the US govt. My grandfather was a bond trader who had clients that went down on the Titanic and this is the kind of safe, safe thing they bought to give them a safe safe income, protect their wealth, and keep them in the style they were accustomed to living.

Back to MARGIN CALL at last.

The super smart research guy is let go. He is not adding to the bottom line. Gone. But he has been working on this as he knows it's all hot air so he's watching it carefully and expects the meltdown. So did I as a matter of fact, and only because I had had Alan Greenspan as a teacher and when he went in to the Feds I knew he had become an anti-Randian hero. Then when he became chairman I knew for sure, and knew for sure what to do altho I then was not in much of a position to do anything about it but try to remortgage my house and run with the cash. Alas it was zoned agricultural and I couldn't. But I do know that many knew this and did it. Did they do anything wrong? They did nothing illegal altho their intention was immoral:- ? -  to default on purpose? Isn't this the kind of blackmail Trump has used so successfully?
Rand, Greenspan, Friedman?

So when the hotshot math guy Peter looks at the flash drive handed to him as his mentor leaves, he sees what he was meant to see, that the house of cards is going to fall. And he is the only one who knows but he is not in a position to do anything so he must tell his superior, Kevin Spacey, an inspired leader of a brokerage group, a man of integrity and brilliance. Spacey is excellent at this kind of role. The rest of the cast Bettany, Demi Moore, Jeremy Irons, Stanley Tucci, etc are all wonderful.

So now that they are the first to know, what to do?

Spacey: Don't even think about what you are thinking to do? You can't sell something you know is worthless.

But they have always been worthless! But the veil of "truth", "reality" will be rent on the morrow or the day after when the whole financial industry knows they are worthless. They always did but pretended they weren't, then forgot that they were pretending.

Which brings us to that wonderful tale Baudrillard/Zizek tell: Two painters are enticed to enter a competition as to which one can paint the most "true" Trompe d'Oeil. One painter composes grapes so real that birds come down to eat them. Wonderbar! The other invites the judges to his studio. There is a curtain on the wall. The judges tell him to pull the curtain aside. But it is the curtain that is the Trompe d'Oeil,  so he wins. One could fool birds, but the other could fool judges.

Look at these bundles of derivatives the same way. Baudrillard looks at all conspicuous consumption the same. Rand would have agreed. She did not live among luxury tho she could well afford it. DeLillo says this also in Cosmopolis with Eric Packer who lives even more extravagantly than Gail Wynand. His penthouse bedroom swivels, Gail's was only all glass, it didn't go round like a marry-go-round, did not circulate globally like the sun. Things that go around and around are "floating signs" in Cosmopolis as the dialectic of opposites and linear time is over, and things just circulate now, even sex.

So the simulacra of derivative bundles, copies of copies having no original, are "floating signs" (floating signifiers without a signified) are signs that are unmasked revealing nothing, emptiness. Death in other words.

Now how brilliant is that! Is this capitalism? Is it the capitalism Rand talks about? Is it what even Marx talks about? The commodity now has no more labor value; no more use value. In fact it isn't even a commodity, but just a "sign". It is nothing.

So the film destroys Marx and speculative capital, two bogeymen with the same flyswatter to quote and refer to  Nietzsche's joke. The referent of language is language.

Well maybe here we go.