Anders Breivik arriving in the courtroom in May. Photograph: Getty Images
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The grotesque manipulations of Anders Breivik

Åsne Seierstad questions a system that gives Anders Breivik publicity.

On 24 August, the verdict against Anders Behring Breivik will be pronounced at Oslo District Court. He has acknowledged having murdered 77 people and destroyed government buildings in Oslo last July but does not accept that he is guilty of any crime. This past week, others got the blame for not stopping his acts, including the man Breivik wanted to crush.

The perpetrator of the bombing and massacre was relegated to a minor role this month in Oslo. The words “blame” and “guilt” were frequently employed but this time not aimed at Breivik. The 22 July commission, an independent inquiry, has delivered its report to Prime Minister Jens Stoltenberg and, with it, devastating conclusions. The attack on Stoltenberg’s offices in the government area could have been prevented, its report claims, if measures already approved had been implemented. The authorities failed to protect the people who were massacred at a Labour Party youth camp on Utøya. Quicker police action was feasible and Breivik could have been stopped much earlier.

The report describes an almost total collapse in the planning and execution of the police action. Co-ordination failed totally and fatally: no nationwide alert, no roadblocks or observation posts set up, no attempt made to mobilise helicopters. The police work was worthy of a “failed state”, not the smoothly organised country we thought we lived in, the commentator Anders Giæver wrote.

The commission’s presentation included almost unbearably sad details, such as the witness who had seen Breivik leaving the bomb area with a gun in his hand. The witness called in the correct number of Breivik’s licence plates only ten minutes after the bombing. The operator wrote the message on a yellow Post-it note and it was given to the co-ordinator, but then left on a desk while Breivik drove out of town. For a long stretch of road he had a police car driving right behind him, suspecting nothing, as the message hadn’t been relayed further. Had he been stopped then, the whole massacre on Utøya could have been prevented.

The failures are numerous: the first policemen to arrive at the lakeside, 600 metres from Utøya island, never attempted to get a boat across to try to stop the killer, even though instructions said they should. The special police sent from Oslo passed them and drove three kilometres further due to a misunderstanding about the agreed meeting place, where they overloaded their dinghy so heavily that it almost sank and civilian boats had to come to their rescue. That was a good thing, as the police, for a while, had been heading to the wrong island.

Breivik killed on average one person every minute. So many lives could have been spared if the police work had been more efficient. Who is to blame? Whose head should roll? Who is to carry the burden of guilt?

Breivik must be rejoicing in his cell, where he has access to all the major Norwegian papers. The main headline in the tabloid newspaper VG after the inquiry made its presentation sent a not-so-subtle message to the prime minister: “Stoltenberg should go”. Breivik’s stated goal is to “crush the Labour Party”. Now the prime minister, who previously was hailed for his leadership after the attacks, is under sharp criticism for the lack of national security measures. Stoltenberg was praised when he spoke, soon after the massacre, of meeting the horror with more “openness, more humanity, but never naivety”. That last word has returned to haunt him. Because we weren’t prepared.

Notice me

So, how do we handle the man who is truly guilty? Are we prepared to punish the culprit in keeping with the standards of his crime?

Up till now, the killer has got everything he could wish for. The former high-school dropout – the nobody – became a somebody. The one who “was always there” but whom most people never remembered, has at last been noticed. Breivik has achieved worldwide notoriety. For the first time in his life he is undoubtedly uppermost in his father’s mind; the father who cut contact with him when he was 15.

To take the psychoanalytic approach: Anders grew up with an emotionally abusive mother who could oscillate between sweet talk and screaming her hatred for her son in a split second. But Anders quickly learned how to manipulate her and as the years passed the motherson power balance shifted in his favour. He later played these tricks skilfully on his captors, on the police and on the judges in court.

When finally the police captured him – three minutes after they arrived on the island, but having spent about an hour to get there – the first thing he said to the policeman sitting on top of him was: The quicker we can start the questioning, the sooner we can start negotiating. If you want to save 300 lives, you should listen to me carefully.

This negotiating tactic produced, among other things, access to a personal computer and a printer. During the trial his negotiations with the judge, Wenche Elisabeth Arntzen, showed similarities to those of a little boy with his mother. When Arntzen tried to cut the reading of his opening speech, which was filled with anti-Islamic rhetoric, he said: If you don’t let me read my full manuscript, I won’t talk at all. She gave in on the first day of the trial, and let him continue until he was through.

Now, in prison, waiting for his judgment, nothing prevents him from continuing to spread his message, freshly written every week on his cherished computer, then printed out and mailed to his followers. According to his lawyer, Breivik spends between eight and ten hours a day working. When the trial was over, at the end of June, he finally found time to sit down to read the 600 letters he had received from around the world, most of them from right-wing extremists in Germany, Sweden, Britain and Russia. VG got hold of two letters that Breivik recently sent; they were exact copies of each other; only the names differed.

In the letters, Breivik explained how he plans to keep fighting against the values of Norwegian society. Those same values that gave him a fair trial, lax treatment in prison and even the right to keep spreading his message. He writes in the letters that he plans three books: the first about the attack, the second about his ideology and the third about the future.

He is also forming a think tank named “Conservative Revolutionary Movement” and in a letter to a Russian follower he writes: “My goal is to develop a pan-European prison network consisting of European, patriotic martyrs and other politically motivated prisoners.” As he explained in his manifesto before the terror act, a trial is the best way to spread his message and so, up to now, everything has been going to plan.

As long as he or she doesn’t promote anything criminal, a prisoner in Norway has freedom of speech and the right to communicate with the outside world. All prisoners in Norway remain eligible to vote in elections. Breivik is careful in his letters not to advocate violence. But his very signature on a letter concerning a “conservative revolutionary movement” could be seen as an instigation to violence. He has often repeated that his mission is not over and, when asked in court whether he regrets his actions, has answered bluntly, “The only thing I regret is that I didn’t kill more people.”

His ten-week trial became a seminar of psychiatrists. In court, out of court, in the media, at conferences, the psychiatrists were quarrelling about differing diagnoses of mental illness that could be made on the mass murderer. All his apparent symptoms were analysed carefully by the forensic psychiatrists and the two teams appointed by the court came to opposite conclusions. The first team was convinced Breivik had been suffering from psychosis during his killing spree and thus can’t be punished according to Norwegian law. The second team concluded that he had been sane and can be punished for his crime. In Norway, putting a sick person in prison is considered a worse crime than treating a sane person on a psychiatric ward. This is one reason court psychiatrists wield greater power than their colleagues do in courtrooms in other countries.

Our system also dictates that, once a mentally ill person has been treated and declared sane, he must be allowed to go free. In most other countries he would then have to face the punishment for his crime. Curiously, in this case, neither health professionals at the prison nor any of the members of the observation team put together by the second couple of court psychiatrists has found any sign of psychotic behaviour. Synne Sørheim, from the first team of court psychiatrists, said during the trial that she is a “treatment optimist” and would treat Breivik with medication and conversation. It is hard to see what she will treat. His right-wing extremist ideas? His violent behaviour? His sense of being at war with social democracy and multiculturalism, evoking the “principle of necessity”?

One thing is clear, however – whatever the judgment is, Breivik will stay in the same topsecurity prison outside Oslo, in the three cells furnished for him. Should he be found insane, the health professionals will treat him inside the prison, a departure from the normal procedure of moving the patient to a hospital.

Breivik’s joint cells were recently classified by his lawyers as one sleeping cell; one “working cell”, with a writing desk, computer and printer; and one “fitness cell” with a treadmill. Breivik has said that he wants to study political science in prison and he has asked his followers to send him books and articles criticising the multicultural society and to enclose stamps. He has also asked for help from local rightwing bloggers willing to work with him. His computer is – unfortunately for him – offline but he doesn’t need his own blog: he can write letters, and others can post them on the web.
This past week, an anonymous letter from one of Breivik’s followers was sent to Norwegian newsrooms, signed by the “second cell of Breivik” acting under his influence.

Breivik has planned this well, his rise to fame from an early bleak life. He corrected “unemployed” to “writer” when asked for his status the first day in court. And this writer is certainly in a unique situation. What other terrorist in the world can sit in his cell and freely spread his propaganda, facilitated by the prison’s own equipment?

There is one thing that Breivik fears: that he will be judged insane. This would take away his aura of being an ideologue, a political prisoner. He would then just be a nobody again. Most of the surviving victims see the harshest punishment for him as isolation. They hope that someone will take away his computer, restrict his letter-writing and leave him alone in his cell with his thoughts and his guilt.

Åsne Seierstad is writing a book about the events of 22 July 2011 in Norway, to be published next autumn.

This article first appeared in the 27 August 2012 issue of the New Statesman, The end of the political cartoon?

Netflix
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Seasons change, Gilmores stay the same

Gilmore Girls is fundamentally about two things: inheritance and community. The four seasons are crucial in exploring those themes.

If you’re out on the road, feeling lonely and so cold / All you have to do is call my name / And I’ll be there. The Gilmore Girls theme, a special version of Carole King’s “Where You Lead” featuring extra vocals from her daughter, plays each episode over images of autumnal New England foliage, and always reminded me of another song on Tapestry, “You’ve Got a Friend”. Winter, spring, summer or fall / All you have to do is call / And I’ll be there.

“Winter”, “Spring”, “Summer” and “Fall” are the episodes that make up Gilmore Girls: A Year in the Life, Netflix’s revival of the Noughties TV series. Fans won’t be at all surprised to see Netflix lean on the four seasons to organise the new show, a fundamental principle of the original series. This integral structure remains even as they dispense with other structures of the previous seven seasons, instead of the original 22-episode year, there are just four episodes used to narrate the Gilmores’ 2016, and each one has ballooned from 45 minutes to 90. And that familiar opening? Gone.

MISS PATTY: And flutter, flutter, flutter, flutter, flutter… and leaves! Where are my leaves? I got pumpkins, I got Pilgrims, I got no leaves.

Until 2016, every episode of Gilmore Girls included the same opening credits, with shots of red and gold leaves, a Connecticut town in the throes of autumn. So, those leafy fall shots would appear at least once an episode, even though the show’s picture-perfect town, Stars Hollow, would spend each series transitioning in and out of each of the four seasons. Of course, Stars Hollow is not a real place under the influence of real changes in the weather: it’s filmed on the perpetually sunny Warner Brothers lot in Los Angeles. And New England is so inextricably associated with autumn splendour, Stars Hollow so relentlessly idyllic, you might have expected the makes of Gilmore Girls to suspend Stars Hollow in a perennial fall, with Rory and Lorelai clutching hot coffees as they tread autumn leaves underfoot all year round. (It might make thematic sense, too: Gilmore Girls’ narrative of a precocious 16-year-old, brimming with brains and potential, slowly failing to achieve her own impossible goals fits both with the season’s connotations of academic beginnings and promise, and with its longer-standing cultural affiliation with maturity, pensive reflection and wistfulness.)

DARREN: Stars Hollow is charming. The last time we drove through there, there was a pumpkin patch.
LORELAI: Sounds like us.
DARREN: In March.
LORELAI: Oh, that would be the year the pumpkins arrived late.

The idea of Stars Hollow in perpetual autumn even comes up in a few episodes. Pumpkins arrive in March, autumnal events continue until the very end of November. Fall decorations are seemingly mandatory for local businesses.  But while every Gilmore Girls viewer can immediately conjure an image of Stars Hollow in fall, so too will they have an equally memorable selection of images of the town in winter, spring, and summer. No season goes unmarked. In fact, in the hyperreal utopia of Stars Hollow, seasons are exaggerated and picturesque: an overabundance of harvest vegetables, fluffy snow, budding blossoms, or falling leaves.

LORELAI: Grass is just not this green — not outside of Pleasantville, it isn’t.
CHRISTOPHER: So, what exactly are you saying?
LORELAI: I’m suggesting they brought in sod.
CHRISTOPHER: You suspect sod.
LORELAI: Yes, or spray paint. Maybe they spray-painted the grass when they spray-painted these trees, ‘cause, I mean, there’s autumnal foliage and then there’s autumnal foliage. It’s over the top, people.

But the seasonal obsession is more than just a way to emphasise the perfection of Stars Hollow. It’s an organising principle for the show’s structure, action and themes.

***

When Kelly Bishop (the actor who plays the most senior Gilmore girl, Emily) received the script for Gilmore Girls, she was stunned by the sheer weight of it. “I kept flicking it over, and looking at the thickness of it,” she told EW. “It was too thick to be a sitcom.” Gilmore Girls, consisting of hour-long episodes that make little sense out of order, but with its emphasis on witty dialogue over dramatic plotlines, hovers in a strange space between sitcom and drama.

Sitcoms are, by definition, situational — they often rely on characters thrown together in a confined space, be it the family living room, friends flatsharing or colleagues in a shitty office space. Comedy is often drawn from the familiarity of the specific surroundings: as a result, fans of The Simpsons or Friends or The Office could accurately draw floor-plans of the shows’ unchanging sets. So, too, could you draw a map of Stars Hollow, if you’ve seen enough episodes (trust me, I’ve done it). The action of a sitcom is often suspended in time and space: episodes end back where they began, the next opening as though nothing of note has happened since. Dramas, though, tend to thrive on progression of both character and plot; casts moving inexorably forward through time and space.

LORELAI: God, the town looks beautiful.
LUKE: Same as always.
LORELAI: No, it’s always different this time of year. It’s magical.
LUKE: If you say so, sure. Oh look, there’s the magical plumbing supply store where I bought a magical float for my toilet last week.
LORELAI: You disappoint me.
LUKE: Oh look. There’s the magical Luke’s Diner, right underneath the apartment that Jess magically lit by leaving every stinkin’ light on.

So, for Gilmore Girls to straddle both these genres, Stars Hollow must hold most of the show’s action and the majority of its ensemble cast, while still allowing the passing year to make its mark on the town. The seasons allow this. Much of this work is done in the background, as the set design changes from episode to episode, but characters are also constantly remarking on the changes in the town with each passing month, as Lorelai does when snow envelops the square.

The result is not just a keen sense of place, but of a place moving through time.

***

TAYLOR: Every other store in town has fall decorations.
LUKE: Hoorah for the mob mentality.
TAYLOR: We’re talking a few streamers and a paper turkey. How’s it gonna hurt to have a paper turkey?
LUKE: No turkey, no squash, no pumpkins. Nothing colored orange.
TAYLOR: OK, you don’t like orange. That’s fine. Autumn has many varied hues to toy with. This is the Autumn Festival. Your shop is right across the street from the Horn of Plenty! You’re smack dab in the middle of everything. You have to decorate.
LUKE: I don’t have to do anything but serve food.
TAYLOR: We’re talking about the spirit of fall!
LUKE: You know where you can stick the spirit of fall?

Gilmore Girls, with its principle cast of family members, and its sprawling ensemble cast of Stars Hollow residents, is fundamentally about two things: inheritance and community. The four seasons similarly become an important device for exploring those themes.

Small rural communities have long organised themselves around the seasons. Stars Hollow is no different — except in the ridiculous extent of its embrace of all things seasonal. Each season of Gilmore Girls is organised around the constant onslaught of annual festivals: the End of Summer Madness Festival that, well, ends summer, the Teen Hayride, the 24-Hour Dance Marathon the Autumn Festival complete with Cornucopia Can Drive and Horn of Plenty, November’s Old Muddy River Bridge Knitathon, the commemorations of the Battle of Stars Hollow, the Winter Carnival, the Snowman-Building Contest, the Christmas Procession, January’s Founders’ Firelight Festival, the Bid-on-a-Basket festival, Groundhog Day, St Patrick’s Day, the Purim festival, a whole host of springtime weddings and engagement parties, the springtime Movie Night in the Square, the annual Easter Egg Hunt, the Hay Bale Maze at the Spring Fling Festival, and the Festival of Living Pictures are just selection of the events honoured in Stars Hollow.

LORELAI: Oh, hey! Turn out the lights.
LUKE: For what? It’s not the real procession, it’s just the rehearsal.
LORELAI: So, it’s pretty.
LUKE: And why do they need to rehearse it? It’s the same thing every year.
LORELAI: Come on Luke, please. It’s hard to imagine living somewhere else isn’t it?

These aren’t just background quirks, lending us an increased sense of familiarity with the town as we’re told over and over that these events unfold in the same, strange way every single year. They’re linchpins which hold key plot events in place. Both Jess and Dean tell Rory they love her, with less than positive consequences, during the supposedly romantic Founder’s Firelight Festivals. Rory’s romantic relationship with Jess speeds up when he bids on her basket at the Bid-on-a-Basket festival, which is also where Sookie and Jackson become engaged. Her relationship with Dean ends (the second time) in spectacular fashion at the Dance Marathon. Luke begins his romantic relationship with Lorelai when dancing with her amidst springtime decorations in the town square at Liz and TJ’s wedding. The list goes on.

The result is that the lives of our main characters, the lives of the smaller Stars Hollow characters, and small-town seasonal events are all inextricably linked to the same calendar. Particularly in the early seasons, every significant relationship, for both Rory and Lorelai, becomes rooted in the community of Stars Hollow. Public acts of citizenship and private expressions of love overlap. To live in Stars Hollow is to live every aspect of your life communally, communing with others, and with nature itself.

LORELAI: Do you know that the best things in my life have happened when it snowed?
RORY: Why, yes, I do.
LORELAI: My best birthday.
RORY: Your first kiss.
LORELAI: Your first steps. They all happened when it snowed.

***

The seasonal structure of the show also brings with it a sense of inevitability, as, in the midst of these reliable annual ceremonies, Gilmore Girls explores ideas of inheritance across the generations. In the grand houses of Emily and Richard’s world (and Lorelai, Christopher and Logan’s youths) inheritance both metaphorical and literal is an encouraged part of family life: but it feels forced and uncomfortable, restricting individuality in favour of decorum and reputation. In Stars Hollow, inheritance functions in a different, but no less crucial, way: more subtle and natural, as constant and eternal as the circles of life. For children who grow up with their parents in Stars Hollow, inheritance seems predestined, even if it didn’t seem so to the characters it affects.  

Many characters are surprised by what they inherit from their parents: Luke never expected to care so much for his father’s old hardware store, Lane is shocked to discover that after years of aching to break out of her mother’s conservative ideals, she’s not comfortable with having sex before marriage. Jess never thought he would pick up a book on intimacy from his uncle Luke, let alone read it sincerely, nor to learn so much valuable advice from him about communication in relationships.

LUKE: You do not want to grow up to be like your mom.
RORY: Sorry, too late.

Of course, that sense of inescapable legacies is taken to extremes in Rory and Lorelai’s relationship: in the very first episode, Lorelai exclaims to her daughter, “After all, you’re me!” While Rory at 16  is, in some ways, a vision of everything Lorelai at 16 was not (responsible, excited by her education, chaste, keeping a constant, serious eye on her future), as the series unfolds, that changes, as Rory becomes more impulsive, reckless and romantic. Viewers are relentlessly confronted by parallels between Rory and Lorelai’s romantic choices: Christopher is to Lorelai as Logan is to Rory, Luke is to Lorelai as Jess is to Rory. Seasons change, Gilmores stay the same.

LORELAI: He kind of looks like Christopher.
LUKE: The grocery kid?
LORELAI: Yeah. He looks like Christopher.
LUKE: And Christopher is Rory’s dad?
LORELAI: The hair, the build, something about the eyes. He reminds me of Christopher.
LUKE: Well that’s not too surprising.
LORELAI: You’re going to quote Freud to me? ’Cause I’ll push you in front of a moving car. This talk was going so well.
LUKE: You and Rory are a lot alike. It’s not surprising you would have similar tastes in men.

It is an inexorable, unavoidable logic, then, that sees Gilmore Girls: A Year in the Life, a show with more interest in the unfolding seasons and the passage of time than ever, that sees Rory finally become her mother. The show’s much-anticipated final four words (“Mom,” “Yeah?” “I’m pregnant”) see Rory at 32, the same age as her mother when the series began, in a similar position to her mother at 16: single, pregnant, unfocused in her career. Some found it frustratingly obvious and pessimistic, others found it optimistic and apt. I’d sum it up in the same way Lorelai comments on her repeating circumstances with her own mother: with a grimly ironic toast “to the circle of life”.

But however you feel about the ending, Gilmore Girls has pulled off one impressive feat. As Lorelai and Rory sit together in the bandstand, and the show cuts to black, it doesn’t feel like the show has ended at all. The fictional landscape of Stars Hollow has a life that extends beyond the screen, as inevitable as the seasons themselves.

Anna Leszkiewicz is a pop culture writer at the New Statesman.