The rest of FP's hard-working, award-winning contributors will provide plenty of reactions to Obama's Afghanistan speech from last night.  I don't have anything new to add that I didn't say, oh, about a year ago to the week. 

So let's talk about.... Game of Thrones!!! 

Set in a fictional medieval-type world (that looks juuuuust a bit like England) with a wisp of fantasy, there's a lot for culture vultures and international relations geeks to like.  Based on a series of novels by George R.R. Martin, the first season on HBO just ended on a ratings high.  Essentially, Game of Thrones consists of a lot of palace intrigue, a healthy dollop of transgressive sex, and a whiff of zombies.  So you can see the attraction to your humble blogger. 

Having finally caught up with the entire first season, however, I'm still puzzling out the show's applicability to current world politics.  I think there are a few, but there's a bias in the show that does suggest some serious constraints [WARNING: SPOILERS AHEAD]. 

On the one hand, Game of Thrones' best feature has been demonstrating the importance of strategic acumen in politics.  The  first season's protagonist, Ned Stark, is a stalwart friend, accomplished soldier, and dogged bureaucrat.  He was also a strategic moron of the first order, which was why I didn't bewail his beheading in the season's climactic moment.  Yes, it's a shame that the good man died.  The thing is, he had so many, many opportunities to avoid that end, had he only demonstrated a bit more ability to think about how his rivals would react to his actions.  Important survival trip:  don't reveal all of your plans and information to your rival until you have engaged in some rudimentary contingency planning.  Or, to put it more plainly: 

On the other hand, I'm just not sure how much the world of Westeros translates into modern world politics.  Realists would disagree, of course.  Cersei Lannister makes the show's motto clear enough:  "in the game of thrones, you win or you die."  That's about as zero-sum a calculation as one can offer.  In this kind of harsh relative gains world, realpolitik should be the expected pattern of behavior. 

Which is also part of the problem with Game of Thrones.  World politics is about the pursuit of power, yes, but it's not only about that.  What do people want to do with the power they obtain?  Social purpose matters in international affairs as well, and there's precious little of that in Game of Thrones.  Sure, there are debates about dynastic succession, but there are no fundamental differences in regime type, rule of law, or economic organization among the myriad power centers in this world.  I hope this changes in Season Two. 

My favorite touch in Game of Thrones is the words of each house in Westeros.  For House Stark, "winter is coming"; for House Lannister, "hear me roar"; for House Baratheon, "ours is the fury"; and my favority, House Greyjoy, "we do not sow."  In case you were wondering, for House Drezner, our words are, "it is time to read."  Alternatively, "Chinese food is coming." 

Readers are warmly encouraged to proffer the words of House Obama, House Clinton, House Bush, House Saud, House Putin, House Chavez, or House Singh in the comments. 

Posted By Daniel W. Drezner

Over at Vanity Fair, James Wolcott blogs about the explosion of forthcoming superhero movies, why they will suck, and what this means for American exceptionalism. 

Actually, let me put that a little differently:  James Wolcott has used prose more bloated than X-Men 3 to attempt a half-assed connection between summer popcorn flicks and America's place in the world. 

First, there's his general critique of today's superhero film: 

For old-school comic fans such as myself (who had a letter published in the Stan Lee-Jack Kirby Fantastic Four in 1967—top that, Jonathan Franzen), these cinematic blowup editions are lacking on the fun side. The more ambitious ones aren’t meant to be much fun, apart from a finely crafted quip surgically inserted here and there to defuse the tension of everybody standing around butt-clenched and battle-ready, waiting for some laureled thespian (Anthony Hopkins as Odin in Thor) to elocute and class up this clambake. Even the films that play it loosey-goosier, such as the facetious Ghost Rider (Nicolas Cage as a skull-blazing vigilante who chills by listening to the Carpenters), end up laying it on too heavy, faking orgasm like a porn star trying to keep Charlie Sheen’s attention. For all of the tremendous talent involved and the technical ingenuity deployed, superhero movies go at us like death metal: loud, anthemic, convoluted, technocratic, agonistic, fireball-blossoming, scenery-crushing workloads that waterboard the audience with digital effects, World War IV weaponry, rampant destruction, and electrical-flash editing. 

 Three thoughts.  First, this critique ain't exactly new.  Second, the reason this critique isn't new is that Wolcott ignores Drezner's Sturgeon's Law of Crap.  Take any artistic or literary category, and 90% of the contributions to said genre will be total crap [Does that apply to your blog posts as well?--ed.  More like 95% in my case.]  Therefore, the easiest thing in the world to blog about is how 90% of any kind of genre stinks.  Third, Wolcott clearly slept through hasn't seen the superhero films that rise above the 90% and possess a fair degree of whimsy, like, say, Spiderman 2, The Incredibles, or Iron Man.   

As for the symbolic implications for American power, er, well, here's his key paragraph: 

Why so much overcompensation? The superhero genre is an American creation, like jazz and stripper poles, exemplifying American ideals, American know-how, and American might, a mating of magical thinking and the right stuff. But in the new millennium no amount of nationally puffing ourselves up can disguise the entropy and molt. Despite the resolute jaw of Mitt Romney and John Bolton’s mustache, American exceptionalism no longer commands the eagle wingspan to engirdle the world and keep raising the flag over Iwo Jima. Since Vietnam, whatever the bravery and sacrifice of those in uniform, America’s superpower might hasn’t been up to much worthy of chest-swelling, chain-snapping pride (invading a third-rate military matchstick house such as Iraq is hardly the stuff of Homeric legend), and our national sense of inviolability took a sucker punch on September 11, 2001, that dislocated our inner gyroscope. Sinister arch-villains make for high-stakes showdowns, but asymmetrical conflict has no need for them, and for all we know the cavern voice of Osama bin Laden could be a Mission: Impossible tape, poofing into smoke at the first shaft of sunlight. The subsequent War on Terror is one waged within a shadow maze of misdirection and paranoia where the enemy might be no more than a phantom army of apprehensions, viral bugs invading the neural network.

Let me be blunt -- I'm not entirely sure if Wolcott wrote this paragraph or outsourced it to a computer program that strongs together random clauses about American foreign policy.  Suffice it to say that the better superhero flicks -- both Iron Man and The Dark Knight Returns come to mind -- contain some interesting commentary on American foreign policy.  Indeed, a few years ago Jesse Walker at Reason argued, with some justification, that "Superhero stories may have begun as power fantasies, but it is our ambivalence about power that keeps the modern genre thriving."

I share Wolcott's distaste for hackneyed comic book films, but sometimes, a bad movie is just a bad movie.  Anyone trying to use any film released in January The Green Hornet as a metaphor for what ails American foreign policy really needs to remember that, most of the time, a bad superhero movie is just a bad superhero movie. 

Posted By Daniel W. Drezner

Compared to the exciting developments in the Middle East, the 2011 Oscars telecast had all the excitement of watching wallpaper paste harden.  To be fair, however, even judged in a vacuum, these Oscars were galactically boring -- which is saying something given Melissa Leo's tres bleu acceptance speech.  The patter was boring, the gowns were boring, and Celine Dion's braying singing ruined the memorial montage.  I got so bored during the actual telecast that I had to make up a scenario whereby former Oscar hosts started massive protests against the current Oscar regime to maintain any interest in the proceedings. 

[So, why are you blogging about it?--ed.]  To demonstrate my ability to wring world politics insights from even the most mundane of sources, of course!!  And they are:

1)  Last year I noted that films leaning towards security studies trounced the more global political economy-friendly films.  Obviously, The King's Speech (which is about leadership and great power politics) beating out The Social Network (which is about intellectual property rights and network externalities) for Best Picture is a continuation of that theme.  Still, the overall results were more mixed.  The Social Network did pick up a few Oscars, including Best Adapted Screenplay, and in the Best Documentary category, Inside Job upset Restrepo -- which meant a real-live-honest-to-goodness political scientist now owns an Academy Award.  NOTE:  This doesn't mean all political scientists are happy about this. 

2)  I've been a longtime supporter of drug legalization as a way to eliminate multiple foreign policy headaches -- but based on the behavior of many Oscar presenters and winners, I'm now wondering if there should be drug testing before the Academy Awards.   

3)  Here's a thought -- if the Brits keep giving the best acceptance speeches, then maybe the Academy should just outsource the awards hosting duties to them as well?  I mean, after that show, suddenly all the carping about Ricky Gervais seems churlish.  I could see Russell Brand and Helen Mirren doing at least a passable job at it. 

4)  As for the Best Picture Winner, I myself would have preferred The Social Network -- but I enjoyed The King's Speech decently enough despite the massive historical revisionism in the film.  It's not like The Social Network was a straight re-creation of history either.  If the controversy about historical accuracy prompts a deeper discussion about the period under question, so be it.  And let me stress that this position has nothing to do with the fact that the Official Blog Wife feels about Colin Firth the same way I do about Salma Hayek.

Did I miss anything? 

Posted By Daniel W. Drezner

From Mark Lilla, "The Beck of Revelation," New York Review of Books, December 9, 2010 issue:

[A]fter reading these books and countless articles on the man, I’m coming to the conclusion that searching for the “real” Glenn Beck makes no sense. The truth is, demagogues don’t have cores. They are mediums, channeling currents of public passion and opinion that they anticipate, amplify, and guide, but do not create; the less resistance they offer, the more successful they are. This nonresistance is what distinguishes Beck from his confreres in the conservative media establishment, who have created more sharply etched characters for themselves....

As anyone who witnessed his performance on the Washington Mall can attest, what makes him particularly appealing to his audience is not his positions, it is that he appears to feel and fear and admire and instinctively believe what his listeners do, even when their feelings, fears, esteem, and beliefs are changing or self-contradictory. This is the gift of the true demagogue, to successfully identify his own self, rather than his opinions, with the selves of his followers—and to equate both with the “true” nation.

From Eric Wilson, "Kim Kardashian, Inc.," New York Times, November 18, 2010:

She does not talk about fashion and image as most designers and celebrity designers do, with platitudes about quality and authenticity, but rather as a person who seems wholly content to allow consumers to project upon her whatever image they wish.

“I really do believe I am a brand for my fans,” she said.

She does not talk about design in terms of cut or craft, either, but of Twitter and Facebook, of blogs and text messages. When fans ask her what she is wearing or what lip gloss she uses, she answers them and then creates products in the vein of what they like. When she was deciding on a color for her Kim Kardashian perfume bottle, she asked her followers on Twitter whether they preferred a hot pink or a light pink. (It was light pink, by far.) “Twitter is the most amazing focus group out there,” she said.

These are the connections my brain will make after reading blog posts about Snookiism.

Posted By Daniel W. Drezner

The Economist reports that Oliver Stone received some expert advice while filming Wall Street 2: Electric Bugaloo Wall Street: Money Never Sleeps

Half-reformed after prison, Gekko is more anti-hero than villain this time. He is still dazzled by lucre, but also determined to give warning of the dangers of excessive leverage. The real baddies are Bretton James and the securities firm he runs, Churchill Schwartz—perhaps the least disguised fictional name ever. Executives at Goldman Sachs are said to be unamused....

As the financial crisis unfolded, the story was reworked to cast Goldman in a more nefarious light. In the original version, the villain was a hedge-fund manager. But script advisers from the financial world persuaded Mr Stone that an investment banker would be more realistic, since it was banks and securities firms, not “alternative” money managers, that had blown up the system.

Among his counsellors were James Chanos, a well-known short-seller, Anthony Scaramucci, another hedge-fund man, and Nouriel Roubini, an economist who predicted the crisis. Each was rewarded for his efforts with a cameo. Dr Roubini appears as the suitably gloomy Dr Hashimi.

Now I respect Roubini a lot, and in this case he was correct to redirect Stone's ire away from hedge funds and towards the investment banks. 

Still, this information makes me juuuuust a bit wary of the film. The history of political economy advisors for film and fiction is pretty short and undistinguished. The only other instance I can think of in which this occurred was Daniel Okimoto's cameo in Michael Crichton's Rising Sun. That novel -- the first of Crichton's to feature a bibliography, if memory serves -- was written at the peak of hysteria about Japan, Inc. Okimoto's contributions were spot-on, but the book itself was absurdly over the top in terms of Japanese nefariousness (intriguingly, Philip Kaufman's screen adaptation of Rising Sun holds up better than the novel because it tamped down the Japan-bashing in favor of adding some film noir moodiness). 

I don't like generalizing from one case, but I do wonder whether political economy advisors are used to give film/fiction the patina of intellectual respectibility, thereby allowing the writer/director to go over the top. [What about documentaries? -- ed. I'll outsource that to Will Winecoff.]

I'm sure movie-goers will be safe in Oliver Stone's hands -- I mean, this is a guy who would never go over the top in making his point

Posted By Daniel W. Drezner

As the 2010 World Cup looms, there's an interesting mismatch between the FIFA's rankings of the soccer powers and, er, real power. 

By my metrics , the top seven great powers in the world right now are the United States, China, Germany, Japan, Russia, India and Brazil.    Your results might vary a bit, but I assume everyone will grant that all these countries would fall into their top 10 list. 

According to FIFA, the top seven men's soccer teams in the world are, in order:  Brazil, Spain, Portugal, Netherlands, Italy, Germany, and Argentina. 

There's not a lot of overlap between those two lists.  Indeed, the latter list includes three PIIGS countries plus a few others facing severe debt difficulties.  Even if one expands the FIFA list to the top 20, only two more great powers (Russia and the United States) pop up.   

Why the lack of correlation?  I'd proffer three possible explanations.  First, and most important, is culture.  What the great powers have in common is possessing proud civilizational identities.  While Germany and Brazil might have soccer-mad populations, in the other countries there are other sports -- baseball, hockey , basketball, rugby, and cricket -- that attract more attention and more dollars.  The best athletes from most of the great powers don't go into soccer. 

Related to this are the skewed industrial policies for sport that some countries pursue.  The Washington Post's Keith Richburg looks at why China is ranked 84th in the world, and finds the following:

As in industry, the government picks national "winners" in sports and funnels cash to create champions and win medals. But the support typically goes to individual sports like gymnastics, swimming and diving, and to sports in which Chinese have traditionally excelled, like badminton and table tennis. Soccer teams here are left to look for private sponsorship....

Politics comes into play, several sports journalists and others said, because sports ministry officials, particularly at the local level, would rather invest government money into promising sports prodigies with a quicker guarantee of victory. "It's related to their promotion," said Li Chengpeng, a soccer commentator and author.

Finally, perhaps men's soccer isn't the best metric here.  Consider FIFA's ranking for women's soccer:  U.S., Germany, Brazil, Sweden, Japan, Norway, North Korea and France.  China is 10th and Russia is 15th.  The correlation between political power and women's soccer proficiency is much stronger. 

The true outlier here is India.  Their men's team ranks 133rd, just behind Fiji.  Their women's team is somewhat better, just besting Haiti.  Even if soccer is not that popular in the subcontinent, it's a country with more than a billion people -- sheer numbers suggest they should field a semi-decent team. 

I welcome any South Asian experts to provide some possible answers in the comments. 

UPDATE:  I should have known that team Passport would be all over this already

Richard Heathcote/Getty Images

Posted By Daniel W. Drezner

Having now seen Avatar, I'm not surprised that the political reviews of the film either go in the direction of Adam Cohen's paean to its cultural sensitivity in the New York Times ("The plot is firmly in the anti-imperialist canon, a 22nd-century version of the American colonists vs. the British, India vs. the Raj, or Latin America vs. United Fruit") or Analee Newitz's takedown of Avatar as the uber-example of White Man's Guilt at IO9 ("Watching the movie, there is really no mistake that these are alien versions of stereotypical native peoples that we've seen in Hollywood movies for decades"). 

It's because, for all the 3D wonder that is evident on screen, this is a movie with two-dimensional characters and two-dimensional storytelling -- and you will either embrace those dimensions or not.  What you can't do is escape them when watching the film.  Any time your brain tries to inject possible subtleties into the story, director James Cameron is lurking around the corner to whack you over the head with some 3D crowbar to make it absolutely clear what is right and what is wrong.  This is screenwriting that makes George Lucas' second Star Wars trilogy look multi-layered by comparison. 

[WARNING:  SPOILERS AHEAD].  To demonstrate the absurdities that Cameron is willing to go, here are two plot points that make absolutely no sense whatsoever:

1)  The Omaticaya clan of the Na'Vi is forced to flee because the humans have destroyed their Hometree.  The movie takes great pains to show how the humans wreaked unbelievable amounts of carnage in the process.  So, what's the very first thing the Omaticaya do after becoming refugees?  Bury their dead?  Care for their sick?  Nope.  Why, they drop everything to attempt to save the life of the human scientist played by Sigourney Weaver!  Never mind that, based on the movie, Weaver's character has contributed exactly nothing to saving the Omaticaya.  This is exactly what a people stripped of their homeland would attempt to do!! 

2)  The movie makes it very clear that the only reason humans are on Pandora is to acquire the "unobtanium" on the planet -- the richest source of which happens to be under the Hometree.  So, after the destruction of Hometree, do the evil rapacious humans proceed to stripmine the ground to get at the mineral?  No, that would be too logical -- they decide they must wipe out the rest of the Na'Vi in a "pre-emptive" strike.  Because suddenly it's much more important to exterminate out the indigenous population than to extract the resources!   

Charli Carpenter, who liked the movie more than I did, correctly concludes, "the brilliance of this film is not that it makes you think - it doesn't. You will enjoy it more if you don't try. However, it does makes you feel."  Unless you try to think about it -- then you're in trouble. 

I'm probably too much of a technological Whig to care for narratives like this one, but just once, I'd like to see a film that embraces the complexities of how indigenous cultures incorporate new ideas and new technologies into their societies.  In other words, some movie producer really needs to hire Tyler Cowen as a technical consultant. 

Posted By Daniel W. Drezner

Can we all just acknowledge that James Cameron is, in all likelihood, the mastermind responsible for this discovery

 

Posted By Daniel W. Drezner

With the release of 2012 today, we're now at the peak of the apocalyptic movie season.  Soon to come will be the big-screen adaptation of The Road, which looks like yet another barrel of laughs.  This comes on the heels of animated apocalypse movies like 9 and WALL*E

This raises an interesting cultural question -- is the obsession with disaster/apocalypse films correlated with the economic downturn? 

I'm not sure the answer is yes. Roland Emmerich, the director of 2012, is just a disaster porn fetishist who likes to destroy the world every time he commits anything to celluloid (except mosques, apparently).  His first disaster flick, Independence Day, was released in 1996 -- not exactly the peak of anxiety about the state of the world.  Deep Impact and Armageddon were also released during the boom times of the last decade.  Furthermore, during the Great Depression, Hollywood responded by instituting the Hays Code and releasing films about "high society" that allowed the downtrodden American to fantasize about The Good Life (a fact that Woody Allen ruthlessly exploited in his best and darkest film, The Purple Rose of Cairo). 

Still, the last time I can remember a spate of disaster flicks being released in such a fast and furious fashion was in the 1970's, another period of economic and political upheaval.  Films like the Airport series, Poseidon Adventure, Towering Inferno, Meteor, and Virus were not pieces of great cinema, but they all seemed to hit some taproot of anxiety that caused people to flock to the movies.

So... a question to the pop culture mavens here at foreignpolicy.com -- do down times lead to more disaster flicks, or is this just a trick of the light? 

Posted By Daniel W. Drezner

Jessica Biel

Your humble blogger has occasionally prided himself as something of an authority on the intersection between celebrities and international relations.  Which brings me to Jessica Biel.   

Sure, the woman in the picture above these words seems pleasant enough, but according to McAfee security, she's not what she seems.  This Reuters story by Belinda Goldsmith explains: 

Actress Jessica Biel has overtaken Brad Pitt as the most dangerous celebrity to search in cyberspace, according to internet security company McAfee Inc.

For the third consecutive year, McAfee surveyed which A-list celebrity was the riskiest to track on the internet after Pitt topped the list last year and Paris Hilton in 2007.

Biel, 27, who shot to fame in the TV show 7th Heaven and most recently starred in Easy Virtue, was deemed the most dangerous, with fans having a one-in-five chance of landing at a website that has tested positive for online threats, such as spyware, adware, spam, phishing and viruses....

President Barack Obama and First Lady Michelle Obama, who have featured on most celebrity list this year, were not at the top of risky public figures to search.

The Obamas ranked in the bottom third of this year’s results, at No. 34 and No. 39 respectively.

You can access the Top 15 list here.  Some interesting tidbits: 

  • Megan Fox and Angelina Jolie are tied for 8th.  Read into that what you will. 
  • Celebrities jump the shark before they lose their utility to cybercriminals.  My proof:  Jessica Simpson, Britney Spears, Lindsay Lohan and Kim Kardashian remain in the top 15. 
  • Declining soft power of America, my fanny:  13 of the 15 celebs on the list were American -- Gisele Bundchen and Rihanna were the only non-American celebrities on the list. 
  • In yet another justification for her unparalleled status as Your Humble Blogger's Favorite Online Crush, Salma Hayek is not on this list. So there -- go ahead and search her out on these interwebs. 
  • Flavor Flav did not make this list... exactly

A question to readers:  if this were a truly just world, which celebrities should be at the top of this list?

Posted By Daniel W. Drezner

[NOTE TO 2011 AND BEYOND READERS OF THIS POST:  If you like what you read here, then trust me, you'll love the book that came from it:  Theories of International Politics and Zombies, (Princeton University Press, 2011).  This post is where it all began!!]

Alex Massie alerts us to this BBC story about modeling who would win if the dead actually did rise from the grave

If zombies actually existed, an attack by them would lead to the collapse of civilisation unless dealt with quickly and aggressively.

That is the conclusion of a mathematical exercise carried out by researchers in Canada.

They say only frequent counter-attacks with increasing force would eradicate the fictional creatures....

To give the living a fighting chance, the researchers chose "classic" slow-moving zombies as our opponents rather than the nimble, intelligent creatures portrayed in some recent films....

[T]heir analysis revealed that a strategy of capturing or curing the zombies would only put off the inevitable.

In their scientific paper, the authors conclude that humanity's only hope is to "hit them [the undead] hard and hit them often".

They added: "It's imperative that zombies are dealt with quickly or else... we are all in a great deal of trouble."  

Now, one could argue that this finding represents a Blinding Glimpse of the Obvious. On the other hand, the report has clear freaked out Alex Massie:

[The researchers] are cheating. It's like something out of Dad's Army: You can't fight like that, it's not in the rules... Then again, if we can be destroyed by Zombie 1.0, just think how powerless we'd be when confronted by Next Generation Zombies...

To try to make Massie feel better let's have some fun with this and ask a different question -- what would different systemic international relations theories* predict regarding the effects of a zombie outbreak? Would the result be inconsequential -- or World War Z

A structural realist would argue that, because of the uneven distribution of capabilities, some governments will be better placed to repulse the zombies than others. Furthermore, anyone who has seen Land of the Dead knows that zombies are not deterred by the stopping power of water. So that's the bad news. 

The good news is that these same realists would argue that there is no inherent difference between human states and zombie states.  Regardless of individual traits or domestic instiutions, human and zombie actors alike are subject to the same powerful constraint of anarchy. Therefore, the fundamental character of world politics would not be changed. Indeed, it might even be tactically wise to fashion temporary alliances with certain zonbie states as a way to balance against human states that try to exploit the situation with some kind of idealistic power grab made under the guise of "anti-zombieism." So, according to realism, the introduction of zombies would not fundamentally alter the character of world politics. 

A liberal institutionalist would argue that zombies represent a classic externality problem of... dying and then existing in an undead state and trying to cause others to do the same. Clearly, the zombie issue would cross borders and affect all states -- so the benefits from policy coordination would be pretty massive.

This would give states a great opportunity to cooperate on the issue by quickly fashioning a World Zombie Organization (WZO) that would codify and promnulgate rules on how to deal with zombies. Alas, the effectiveness of the WZO would be uncertain. If the zombies had standing and appealed any WZO decision to wipe them out, we could be talking about an 18-month window when zombies could run amok without any effective regulation whatsoever. 

Fortunately, the United States would likely respond by creating the North American F*** Zombies Agreement -- or NAFZA -- to handle the problem regionally. Similarly, one would expect the European Union to issue one mother of a EU Directive to cope with the issue, and handle questions of zombie comitology. Indeed, given that zombies would likely be covered under genetically modified organisms, the EU would trumpet the Catragena Protocol on Biosafety in an "I told you so" kind of way. Inevitably, Andrew Moravcsik would author an essay about the inherent superiority of the EU approach to zombie regulation, and why so many countries in Africa prefer the EU approach over the American approach of "die, motherf***ers, die!!"  Oh, and British beef would once again be banned as a matter of principle. 

Now, avid followers of social constructivism might think that Wendt and Duvall (2008) have developed a model that would be useful for this kind of event... but you would be wrong. Back when this paper was in draft stage, I specifically queried them about wther their argument about UFOs could be generalized to zombies, vampires, ghosts, the Loch Ness monster, Elvis, etc.  Their answer was an emphatic "no":  aliens would be possessors of superior technology, while our classic sci-fi canon tells us that the zombies, while resistant to dying, are not technologically superior to humans. So that's a dead end.

Instead, constructivists would posit that the zombie problem is what we make of it.  That is to say, there are a number of possible emergent norms in response to zombies. Sure, there's the Hobbesian "kill or be killed" end game that does seem to be quite popular in the movies.  But there could be a Kantian "pluralistic anti-Zombie" community that bands together and breaks down nationalist divides in an effort to establish a world state. Another way of thinking about this is that the introduction of zombies creates a stronger feeling of ontological security among remaining humans -- i.e., they are not flesh-eaters (alas, those bitten by zombies are now both physically and ontologically screwed). 

Unfortunately, I fear that constructivists would predict a norm cascade from the rise of zombies. As more and more people embrace the zombie way of undead life, as it were, the remaining humans would feel social pressure to conform and eventually internalize the norms and practices of zombies -- kind of like the early-to-middle section of Shaun of the Dead. In the end, even humans would adopt zombie-constructed perceptions of right and wrong, and when it's apprpriate to grunt in a menacing manner. 

Now, some would dispute whether neoconservatism is a systemic argument, but let's posit that it's a coherent IR theory.  To its credit, the neoconservatives would recognize the zombie threat as an existential threat to the human way of life.  Humans are from Earth, whereas zombies are from Hades -- clearly, neoconservatives would argue, zombies hate us for our freedom not to eat other humans' brains.   

While the threat might be existential, accomodation or recognition are not options.  Instead, neocons would quickly gear up an aggressive response to ensure human hegemony.  However, the response would likely be to invade and occupy the central state in the zombie-affected area.  After creating a human outpost in that place, humans in neighboring zombie-affected countries would be inspired to rise up and overthrow their own zombie overlords.  Alas, while this could happen, a more likely outcone would be that, after the initial "Mission Accomplished" banner had been raised, a fresh wave of zombies would rise up, enmeshing the initial landing force -- which went in too light and was drawn down too quickly -- in a protracted, bloody stalemate. 

Readers are hereby encouraged in the comments to posit other IR theoretical prediction of the response to a zombie uprising. For example, would the zombie uprising confirm Marxist predictions about the revolt of the proletariat? 

*Alas, your humble blogger does not have the time to puzzle out the zombie effect on two-level games. 

Peter Macdiarmid/Getty Images

Posted By Daniel W. Drezner

My latest TNI online essay is now available for viewing on the interwebs.  It looks at recent U.S. foreign policy actions through the ever-useful lens of the good cop/bad cop routine.  Can a gambit that always worked on NYPD Blue work on the global stage?  I have my doubts:

On the whole, the good cop-bad cop routine is of limited utility in world politics. Iran appears to be unbowed in the face of a hawkish Israeli government (though, to be fair, they have been preoccupied with other matters recently). A protectionist Congress has not made it any easier to complete the Doha round. Bill Clinton’s good cop was able to secure the release of the hostages, but at the price of a photo op that looked bad no matter how necessary it might have been. And while no one doubts that Biden occasionally goes rogue, it remains unclear just what policy benefits that strategy yields.

In theory, the best kind of bad cop is the one that seems genuinely unconstrained and ready to strike. An independent but allied government plays this part much better than a subordinate member of the executive branch. In other words, if you want to successfully execute the good cop-bad cop routine in world politics, the odds are long to begin with. To pull it off, however, under no circumstances should you let Joe Biden be Joe Biden.

Go read the whole thing

[Would a threat to display more of Dennis Franz's posterior work as a compellent threat?--ed.  Hmmm... let me check the Biological Weapons Convention to see if it's a legit move and I'll get back to you.] 

Posted By Daniel W. Drezner

I know so little about rap music* that I can't directly comment on Marc Lynch's marathon post on Jay-Z and American hegemony.  [You could comment on Beyoncé, though, right?--ed.  Let's just say that I am in complete agreement with Marc that this is one of the most awesome display of soft power on the Internet] 

In reading the blog reaction to the posting, however, I was struck by Ezra Klein's shrewd point about how truly powerful actors rely on proxies to fight their more vicious battles for them. 

Which made me think about what's going on in Iran again.  Najmeh Bozorgmehr's Financial Times story today suggests that Supreme Leader Ali Khamenei can't seem to find the necessary proxy to push back against his opposition: 

Ayatollah Ali Khamenei, Iran’s supreme leader, warned the country’s opposition leaders on Monday that they faced “collapse” if they continued to incite protests over the disputed presidential election.

The warning came amid an unprecedented war of words between the regime’s senior leaders and looked like a retort to Akbar Hashemi-Rafsanjani, the influential former president who has backed the opposition. Mr Rafsanjani said on Friday the country was in “crisis” and the regime had to regain people’s trust....

“The [political] elite should be careful,” warned Ayatollah Khamenei. “They [the opposition leaders] are in an exam session; a big exam. Failing in this exam does not mean getting one [academic] year behind. It will lead to [their] collapse.

“Anyone under any title and position who pushes the society toward insecurity would be a hated figure in the eyes of the majority of Iranian nation,” he said, in a clear reference to the top opposition figures including Mr Rafsanjani.

Meanwhile Mr Ahmadi-Nejad, who has been largely silent on the unprecedented dispute over his re-election, is preparing to swear in his new cabinet (emphasis added).

Pretty ominous words from Khamenei, to be sure -- but it's interesting that he's the guy who has to make these threats.  In doing so, Khamenei has brought himself down to the level of Rafsanjani and Khatami.  Like Jay-Z, I'm not sure he can maintain his hegemonic leadership status without throwing away almost all of the structural power that comes with being acknowledged as the Supreme Leader.  Now he just looks like the rapper with the biggest posse.   

Of course, the supreme irony is that Khamenei might have triggered his invitable downfall by pulling out all the stops to bolster a proxy.   

Question to readers familiar with Iran, rap, and IR theory -- did the above make any sense whatsoever?  Because at this very late hour, the parallels seem surprisingly strong. 

*Seriously, I'm not acting faux out-of-touch here.  This is the last rap song I remember enjoying from beginning to end

Over at Entertainment Weekly, Mark Harris bemoans the timidity of Hollywood's recession offerings

 Many of us are gritting our teeth and counting our dimes through this rough recession, but the studios and networks have discovered a silver lining — they don't have to try anymore. In entertainment, we have met the first casualty of the economic collapse: ambition....

There will always be an audience for mindless crap, but not only for mindless crap. Executives who insist that all we want is comfort food because that's all they know how to cook are missing our appetite for variety, for surprise, for something we've never seen. And in underestimating our intelligence, they overestimate their own.  

Here's a suggestion for Hollywood.  It's not even that radical a suggestion, because the source material has already been filmed.

Why not remake The Bonfire of the Vanities

This is a no-lose proposition.  The Tom Wolfe novel was a heady cocktail of personal hubris set in the financial, political and media world of 1980's New York.  It's the perfect lens through which one can dissect our current financial travails.  Plus, the original movie version was such a God-awful bomb that the most memorable thing about it was a book chronicling the disaster.  The remake, much like Ocean's Eleven, is bound to improve on the original. 

Hell, if even Tom Friedman is dropping references to Wolfe's novel in his columns, one would hope a movie mogul or two has figured out the zeitgeist enough to greenlight a remake.

Here, I'll give my Left Coast friends one last nudge -- some helpful casting suggestions:

  • Sherman McCoy -- Aaron Eckhart
  • Peter Fallow -- Hugh Laurie
  • Maria Ruskin -- Scarlett Johansson
  • Judy McCoy -- Calista Flockhart
  • Reginald Bacon -- Jeffrey Wright
  • Larry Kramer -- Jake Gyllenhaal

That's a talented, inexpensive cast right there!  C'mon, Hollywood, if you're making a movie version of Moneyball, then surely you could do the same for either Liar's Poker or Tom Wolfe's fictional equivalent.  Get on it!

Posted By Daniel W. Drezner

This is an age when it's fashionable to complain about everything in America going downhill. So it's worth pointing out that, compared to my youth, the Super Bowl is an event that has improved with age. This past decade the games have been far more competitive than the first 25 Super Bowls. The NFL has been smart enough to dispense with the military metaphors. Even the halftime shows have gotten better -- props to Bruce Springsteen.

Yesterday's game was thrilling, if a bit sloppy and very chippy. There was some excellent scrambling from Ben Roethlisberger and some outstanding wide receiver play (also a more recent and pleasant change: wide receivers with exceptional talent who don't shoot off their mouths, or their hips).

While the game was good, I'm not so sure about the ads. I liked the one with Jason Statham, and I loved the one with Conan O'Brien. Otherwise, it seemed like a down year. Enough with the f$%^ing Clydesdales, Budweiser. And that Alec Baldwin Hulu ad was funny peculiar more than funny ha-ha.

Readers, what did you think?

Daniel W. Drezner is professor of international politics at the Fletcher School of Law and Diplomacy at Tufts University.

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