falling down, not economically viable

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NOT ECONOMICALLY VIABLE

https://www.youtube.com/watch?v=G7oglIAdnJM

Plastic Surgery paid for all this? "I'm Obsolete, Not Economically Viable"
https://www.youtube.com/watch?v=Oh8bvoHmlN4

“Not Economically Viable”: The Lessons of Falling Down Remain Unlearned

Considering that screenwriter Ebbe Roe Smith himself was born in Southern California, he knew all too well the ripple effect that transpired when the aerospace and defense companies left town. The ones that had surged in the post-war boom so much that it entailed the building of what can best be described as “artificial communities” throughout Southern California. Places that didn’t really exist until a slew of cookie cutter houses were plopped down into a cul-de-sac. No one seemed to mind the ersatz feeling–this manufactured life to mirror a manufactured class. But what happens when the buttresses for that manufactured class–companies like Lockheed, Raytheon and Boeing–decide they’d rather take their business elsewhere? More to the point, to a city and state with more political and financial incentive. In the early 90s, the migration of Raytheon and Lockheed out of Southern California made massive dents in the economy of Los Angeles County that, for whatever reason, people (read: blancos) would have preferred to pin on the seismic shift that seemed to be timed right after the Rodney King riots.

Maybe even people like William “D-FENS” Foster (Michael Douglas), the prototypical irrelevant white male, would have preferred to place the blame on an event so recent and palpable. But the truth of the matter was, a sea change in the city (and the country it reflected) had been brewing for years. A collective and conscious decision on the parts of the very companies that shaped the landscape to rip the cushion of “luxury” out from underneath the middle and working class–and, with it, the veneer that once shielded how only two classes ever remain: the congenitally rich and everyone else. To compound matters for Bill, however, he’s faced with the stark realization that being a white middle-aged male no longer bears any standalone power either. Stripped of his livelihood and the clout of his color and gender that he once thought was immutable, Bill is tipped over the edge the moment we’re introduced to him sitting in his mediocre car, saddled with a less than mediocre life. As his eyes scan his oppressive surroundings, a bumper sticker advertising a number to call for “Financial Freedom” is just one of many entities (along with a grinning Garfield attached to the inside of a window) that seem to mock Bill as he suffocates and sweats in his vehicle–all in a scene highly reminiscent of the opening traffic jam in Fellini’s 8 ½.

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