What Catch-22 tells us about the BP spill

If it's good for the syndicate, it's good for you, say the bankers.

As oil continues to gush into the Gulf of Mexico, another victim has made an appearance beyond dead fish and poisoned pelicans: British pensioners. According to yesterday's Daily Telegraph, the spill - and the American government's reaction to it - is hurting them terribly.

"BP's position at the top of the London Stock Exchange and its previous reliability have made it a bedrock of almost every pension fund in the country, meaning its value is crucial to millions of workers," the paper reported. The story continues with these chilling quotes:

"We need to ensure that BP is not unfairly treated - it is not some bloodless corporation," said one of Britain's top fund managers. "Hit BP and a lot of people get hit. UK pension money becomes a donation to the US government and the lawyers at the expense of Mrs Jones and other pension funds."

Mark Dampier of the financial services company Hargreaves Lansdown said: "[Mr Obama] is playing to the gallery but is not bringing a solution any closer. Obama has his boot on the throat of British pensioners. There is no point in bashing BP all the time, it's not helpful. It is a terrible situation, but having the American president on your back is not going to get it all cleared up any quicker."

Neil Duncan-Jordan, of the National Pensioners Convention, said: "Most ordinary people would not have thought that BP would have an impact on their retirement but if BP's share price goes down then their pension pot goes down.

"Most of those pension funds are invested in the default option, which is stocks and shares, and so if BP goes down the pan then their pension pot goes down the pan."

Can a pot go down a pan? That pressing question aside, the outraged tone taken by the fund managers here is extremely familiar. It's the voice of Milo Minderbinder, a character in Joseph Heller's Catch-22. Milo runs a syndicate, which comprises a number of generally crazy money-making schemes, and in which "everyone has a share". An elegant piece of circular logic allows the syndicate to get away with almost anything:

"Milo, how do you do it?" Yossarian inquired with laughing amazement and admiration. "You fill out a flight plane for one place and then you go to another. Don't the people in the control towers ever raise hell?"

"They all belong to the syndicate." Milo said. "And they know that what's good for the syndicate is good for the country, because that's what makes Sammy run. The men in the control towers have a share, too, and that's why they always have to do whatever they can to help the syndicate."

"Do I have a share?"

"Everybody has a share."

Everybody has a share, so what's good for the syndicate is good for everybody, what's good for the syndicate is good for the country, and what's good for Milo is good for the syndicate. Why, anything else is simply unpatriotic. Even the Germans have a share, so eventually the syndicate is being paid by the Americans to attack a bridge while being paid by the Germans to defend it. Milo starts flying German planes, and is horrified when an effort is made by the American authorities to confiscate those planes.

"Is this Russia?" Milo assailed them incredulously at the top of his voice. "Confiscate?" he shrieked, as though he could not believe his own ears. "Since when is it the policy of the American government to confiscate the private property of its citizens? Shame on you! Shame on all of you for even thinking such a horrible thought!"

"But Milo," Major Danby interrupted timidly, "we're at war with Germany, and those are German planes."

"They are no such thing!" Milo retorted furiously. "Those planes belong to the syndicate, and everybody has a share. Confiscate? How can you possibly confiscate your own private property? Confiscate, indeed! I've never heard anything so depraved in my whole life."

His tone of voice is familiar, isn't it? It's the same aggrieved wail of the fund managers, the banks, the hedge funds. Eventually, the syndicate bombs its own airbase, and Milo has gone too far. He is made to reimburse the government.

But the syndicate has been making unearthly profits, and everyone benefits, and the government is a democracy, and therefore made up of people who have already benefited, so really the government doesn't need to be reimbursed and the benefit has already gone to the people. Even when it's fouling its own nest and screwing everything in sight, the syndicate is good for everybody and good for the country. Similar logic is being used by the defenders of BP.

William Wiles is Senior Editor at Icon magazine. A longer version of his post appears on his blog, Spillway.

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Okja begins as a buddy flick – but ends up in the slaughterhouse

Korean director Bong Joon-ho works with British co-writer Jon Ronson on this tale of genetically engineered superpigs.

If Studio Ghibli, the Japanese animation studio responsible for Spirited Away, were to branch out into live action, the result might be something like Okja – at least in part. It’s the tale of a genetically engineered breed of waddling grey superpigs, not so much porcine in appearance as manatee or hippo-like, created by the twitchy, imperious CEO of a multinational corporation, Lucy Mirando (Tilda Swinton), in the hope of solving a global food shortage.

Each of these docile beasts is despatched to a different corner of the planet to be reared. The enormous Okja grows up in rural Korea, gambolling in the fields with her young companion, Mija (Ahn Seo-hyun).

Okja is no dumb animal – she saves the child from falling off a cliff by using a rope to improvise a sophisticated pulley system. She should be working in crisis management, not ending up on someone’s fork. But eventually the day comes when Mirando’s representatives arrive to claim their several thousand pounds of flesh.

The early scenes borrow the leisurely rhythms of Mija’s idyllic days with Okja; she snoozes on the beast’s vast belly, softly rising and falling in time with her pet’s breathing. Yet once she follows the kidnapped creature to Seoul, where they are taken in by a band of animal rights activists, the film lurches from one style to another. What begins as a tranquil buddy movie finishes up in the blood-soaked slaughterhouse where Okja is due to end her days; it’s as though My Neighbour Totoro had morphed into Fast Food Nation.

The film’s Korean director, Bong Joon-ho, and his British co-writer, Jon Ronson, present viewers with a transaction that reflects the ethical and ecological implications of the story.

We can have our heart-warming tale of the bond between human and animal, but only if we accept also those parts of the plot which demystify that relationship and take it to its industrialised extreme. It’s a bold strategy that has worked before for this film-maker – in The Host and Snowpiercer he used the genres of horror and action, respectively, to smuggle through political and environmental messages.

But Okja risks falling between two stools. Young children who might enjoy the first third (and can see Okja on Netflix the very day it is released in cinemas, easily bypassing the 15 certificate) would be alternately bored and traumatised by the rest of it. Conversely, adults will have an awful lot of whimsy to wade through before reaching the meat of the movie.

There are compensations. The film is sumptuously designed by Lee Ha-jun and Kevin Thompson, and crisply shot by Darius Khondji. Swinton, who played the villain in Snowpiercer as a grotesque northern schoolmarm with oversized gnashers, puts in the distorting dentures once again in Okja as both Lucy and her sister, Nancy, with whom she is locked in an irresolvable rivalry. Lucy is bleached (pink skin, platinum hair, white robes) to the point of invisibility, whereas Nancy is a harrumphing Penelope Keith type in a quilted jacket.

Other capable actors are undone by the unreasonable demands placed on them. Shirley Henderson, as Lucy’s assistant, has been directed to talk at comically high speed for want of any actual funny dialogue, and Paul Dano would be more plausible as a winsome animal rights activist if he weren’t leading the Animal Liberation Front. The group’s portrayal here as a group of touchy-feely flower children (“This is a non-lethal chokehold, OK?” one member says, as he disables a security guard) is laughable.

But no one comes out of Okja quite as badly as Jake Gyllenhaal in the role of Dr Johnny Wilcox, a wacky nature TV presenter who is like Steve Irwin trapped in Timmy Mallett’s body. The film is at its most wrong-headed in scenes where Dr Johnny, left alone with Okja, first forces her to mate with another superpig (a pointless episode that serves no plot function) and then tortures her.

It’s that risky trade-off again: enjoy the knockabout chase sequence in which Okja fires turds at her adversaries, and later you must endure the darker side of the same narrative. It will be a forgiving audience indeed that doesn’t recoil from this approach, which is too much stick and not enough carrot.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 22 June 2017 issue of the New Statesman, The zombie PM

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