IN THE NEWS
[I'm not usually big on cultural criticism. Lately, though, there's been so much to cover in that area that it's made me think, What the heck?]
A guilty pleasure of mine is actually making me feel guilty. We started watching the Fox action series 24 after the first season was already on DVD. After the first episode's amazing cliffhanger, we were hooked. We consumed episodes like popcorn, wolfing down the first season, then the second.
When we finally got to watch the third, we were disappointed. And the fourth, which is being aired now, has me worried.
You'd expect a lot of things about TV shows depicting counterterrorism to take dramatic license. For one thing, the whole format of 24 is based on something that really almost never happens, the "ticking bomb" scenario. Urgency about killer viruses about to be released, nuclear bombs smuggled into Los Angeles, or plots to kill the President unfolding keep the action moving. The real world of counterterrorism is a lot more boring, with most professionals never seeing the kind of action that's weekly fare on 24 and other shows (Alias, La Femme Nikita--heck, even the old British show, The Avengers).

I worry that an audience of people who have little or no exposure to what the real cat-and-mouse game between terrorists and governments is like will get the wrong impression from these recurring "ticking bomb" plots. After all, a lot of the changes to US federal law are based on the idea that, since the 9/11 attacks, we're always living on the cusp of another catastrophe. After seeing the frequency of torture increase from one season of 24 to another, I'm equally worried now about the normalization of torture--which, of course, is based largely, but not completely, on this sense of false urgency.
Without rehashing all the torture incidents in 24, let's just recount this season's:
- An agent of the fictional Counter-Terrorism Unit (CTU) tortured the son of the Secretary of Defense because he may have been withholding information about this father's and sister's kidnapping.
- The head of CTU tortured an analyst suspected of being a terrorist mole. Later, when she complained to the CTU chief's replacement, she was summarily fired.
- Later, CTU agents tortured the real mole.
- Special Agent Jack Bauer, the lead character, tortured a businessman who had a partial interest in a building where terrorists had been working.
- The head of security for a major defense contractor tortured the same businessman to find a critical document implicating the company in a terrorist attack.
Is this entertainment? In some cases, depictions of torture are not only palatable, but possibly necessary. You couldn't make a movie about Stalinism without, say, the straightforward torture inflicted on prisoners, or the creepy use of psychiatric drugs and surgery to control and interrogate dissidents. However, the writers of 24 have turned to torture as a plot device, and a reflexively used one at that. The action is flagging...time for someone to talk! Maybe by next season, the series will have reached the reductio ad absurdum of all the main characters torturing each other at least once by the 24th episode.
Of course, both the white hats and black hats have the same excuse: exigency. Bauer is always growling something about, "We really need this information." However, torture has turned into practically the only technique the characters on 24 know to get it from human sources. After all, a nuclear reactor is about to melt down, so who can bother with niceties--or even other possible sources, often more reliable than the words of someone who is trying to tell the torturer what he thinks his interrogator wants to hear?
The series has come under fire this season for its unflattering portrayal of Muslims, every one of who in the first several episodes was a diehard terrorist. (In the last episode, we got to meet a few "good Muslims." I don't know if they were part of the script all along, or a quick addition after Fox received too many complaints to ignore.) The normalization of torture should inspire as loud an outcry, on behalf of everyone. Torture is not only evil, it's ineffective. You have to wonder, therefore, about a screenwriter who blithely adds it as the tool of choice for fictional counterterrorism professionals, after what has happened in the real world of Abu Ghraib, Bagram Air Base, Guantanamo Bay, and other US detention facilities.
In the weeks after the 9/11 attacks, Americans as a whole took a different view on violence in TV and movies. The studio behind the Arnold Schwarzenegger movie Collateral Damage delayed its release because the usual American action movie would have appeared unseemly to audiences fresh from the real-world carnage of 9/11.
I did think, and still do, that it's important to worry about what is unseemly entertainment in the face of violence in Manhattan, Oklahoma City, Baghdad, Kabul, Bali, London, Karachi, Paris, Bogota, and countless other places in the world. I don't think that violent TV shows, movies, video games, or books inspire violence in the real world. The problem with the casual use of torture in our entertainments isn't some insidious psychological influence that will program all of us to be proto-torturers. Instead, the dangers lie in overt policy positions about what's normal and effective when handling terrorists, their informants, their friends and families, their mild acquaintances. All of which, of course, presupposes the person at the center of this web of affiliations turns out to be, in fact, a terrorist, and not just, say, someone with a name that's the same as or similar to the actual terrorist.
P.S. 24 is also rubbing me the wrong way for the typical boneheaded decisions about casting characters of a particular ethnicity. One of the terrorists from a few episodes ago, Omar, was played by Tony Playa, an actor born in Cuba who usually plays Hispanics. Shohreh Aghdashaloo, who portrays the frightening "My Mother The Turkish Terrorist," is Iranian, as I could tell in 10 seconds of hearing her speak. Enough, already, of casting people for roles because the actors are, you know, swarthy.