Hollywood representations of the mob often paint gangsters' stories as dark but familiar versions of the American dream: the outsider's acquisition of wealth and respect. Such whitewashes make for terrible history, but as HBO's Nucky Thompson would say, "never let truth get in the way of a good story.
SELWYN RAAB is the author of Five Families: The Rise, Decline, and Resurgence of America's Most Powerful Mafia Empires and is a former reporter for The New York Times.
As compelling as HBO's Deadwood is, it only gestures at the historical forces that shaped the real-world Old West: military conquest, industrialization, and ethnic conflict. Complex phenomena such as those undercut the notion of the individual taking control of his or her own destiny, a trope at the heart of this, and every other, Western.
Forget the Machiavellian appearances--A Song of Ice and Fire is really a parable about the disastrous consequences of unchecked realpolitik.
Actual medieval life was boring. What gives George R.R. Martin's blockbuster fantasy series its spark is not historical accuracy but rather the author's imagination.
Showtime's blockbuster series is great television, but not a useful guide to real-world homeland security. Hint: we always tap the suspect's cell phone.
Downton Abbey is entertainment, not documentary. Nevertheless, it presents a vividly effective portrait of the servant-supported lifestyle of the British elite just before its dramatic decline in the years after World War II.
(HBO)
For decades, the American Mafia and Hollywood have engaged in a sly quid pro quo: the Mob provides inspiration for the entertainment industry, while that industry, in return, romanticizes and humanizes made men. The latest evidence of this exchange can be seen on HBO, in the series Boardwalk Empire, which is thinly based on the life of Enoch "Nucky" Johnson (renamed "Nucky Thompson" in the show). Johnson, a monumentally corrupt Republican political boss, transformed Atlantic City during Prohibition into an emporium for illegal drinking, gambling, and sex. Although he was paid an official annual salary of $6,000, Johnson raked in an estimated $500,000 a year (about $10 million in today's dollars) from his partnerships with bootleggers, gambling dens, and brothels. Lucrative work, if you can get it.
Boardwalk Empire captures some details of the era well. Imitating the real Johnson, Steve Buscemi's Nucky enjoys a lavish lifestyle while dressing like Beau Brummel, with a red carnation in his lapel. The character's love of big cars, sexy showgirls, and power -- gleaned from political deals with rival Democratic party bosses, including the legendary Frank Hague, the mayor of Jersey City from 1917 to 1947 -- also rings true...
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In recent months, many observers have concluded that the United States and Europe are on divergent paths and that the transatlantic alliance is crumbling. In spite of some real differences, however, American and European attitudes remain remarkably similar on most key issues. Basing policy on the false assumption of transatlantic divorce would only make it a self-fulfilling prophecy.
A NATION, needless to say, is a very complex reality. But this too obvious fact should not lead us to forget that a nation is also a very simple reality, and that this is the condition of its unity, of its being one country. "Ces grands corps que sont les nations," said Descartes--"Those great bodies which are nations." That is true; they are great, sometimes huge bodies; but they are at the same time, perhaps primarily, "characters" or "persons." Their unity is a personal one, both for themselves and for others.
The power of protest comes from its capacity to disrupt business as usual. As long as protesters believe they are making progress through other means, they will not resort to violence.
