I did it. I actually went out and saw Ben Stein’s Expelled: No Intelligence Allowed, the documentary that accuses scientists of silencing critics of evolution. I saw Expelled last Saturday, the day after it was released, and I was able to count five people in the theater.
I’m not going to go into much detail here; people with more time than myself have already answered each and every claim made in the film. However, I would like to point out my biggest complaint about Expelled: they never explained why intelligence design is science in the first place. In fact, this alleged science is presented to the audience as nothing but a clever intuition. The sequence of events literally goes as follows:
- A couple of scientists lost their jobs after mentioning intelligent design (a lie, by the way)
- The cell is really, really complex. Therefore we’ll never find a natural explanation. Cut to a long (possibly stolen) journey through the cell expected to sell blatant argument from incredulity.
- Scientists are suppressing and excluding people who think the complexity of the cell means there is some kind of supernatural power “out there,” kind of like Nazis.
- By the way, Hitler was inspired by the theory of natural selection. Cut to stock footage of Nazi concentration camps.
Perhaps as incoherent and intellectually vacuous as the entire ID movement. Scientists do not take intelligent design seriously because intelligent design doesn’t take science seriously. They’re going to have to do some research and create some relevant, repeatable experiments to establish their assertion – one that barely counts as a hypothesis – if they want any credibility.
Ben Stein would like you to think ID is the little guy getting pushed around by “big science.” However, in all its actions and lack thereof, the little guy shows no intention of even getting along with “big science.” Here the little guy puts up a thin facade – one the collapses with the slightest touch of investigation – all while his radical agenda of backwardness and social reconstruction is obvious for anyone with eyes.
Jack White has done some crazy shit. Prided playing one-note shows in Canada, possibly marrying his sister and going through phases of wearing nothing but white, red and black, he surprised the media and fans alike by releasing a follow-up to The Raconteurs’ highly successful first album, Broken Boy Soldiers, without any notice.
Available today, Consolers of the Lonely follows the latest trend in the music industry. More and more artists are cutting out the companies and getting the music directly to their fans. In the footsteps Radiohead and Trent Reznor with their “pay what you think it’s worth” experiment, such an abrupt release doesn’t give reviewers any advantage over the listeners – an interesting idea.
I was expecting a lot from The Raconteurs sophomore release. The crazy offstage is mirrored in the crazy onstage; Broken Boy Soldiers is one of my all-time favorite recordings. With these heavy expectations, I enjoyed Consolers. I remember being more impressed after hearing the first album but that may be because the only changes between the two aren’t much more than a fiddle and the occasional femme backup. Consolers of the Lonely is a solid piece; dark, powerful and bluesy enough to remind me why The Racontuers is not only Jack White, but modern rock at its best.
I wake up on my first day of spring break to find over a foot of snow. Again.
So now I return to the comforts beneath my blanket as I continue to pwn n00bs in Halo, still snickering at what just might be the greatest moment of irony ever.






