Given that the swastika is often read as a kind of perverted cross, and the marking of the forehead has a particular religious resonance, we can read that Raine’s forehead carvings invert the Ash Wednesday observance. The Ash Wednesday marking is a highly ritualized display of absolution. Raine’s marking scenes are highly stylized rituals of condemnation intended to foreclose such absolution. Aldo’s knife is a pen (however worn the analogy) with which he carves/writes/creates a space where evil cannot repent, a person cannot be forgiven, cannot switch sides, cannot become new, cannot shed a uniform for new clothes and be cleansed.

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Now, finding my daughter hula-hooping or wearing wigs (even a man-wig) isn’t surprising. She scours thrift and costume stores for groovy wigs and is building a nice collection. She’s got a Liz Taylor wig, two Amelia Earhart wigs, a Paula Dean wig. Her Roger Daltrey wig is her only man-wig. It’s the combination of the wig and The Who and what those things meant to me in my own identity-formation that took me back a bit, equally as much as hearing my guileless pre-teen daughter belt out “we’re all wasted.”

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It’s fitting on a day in which a largish varmint shivs the meteorological time-space continuum that the popular U.S. show Lost returns to explode what’s left of our collective brains. When we last left the hapless survivors of Oceanic 815 they too had cut loose from the time-space continuum (ok, I’ll stop using that phrase cause I don’t really know what it means because it involves math and I have all the mathematical prowess of a weather-predicting whistle-pig).

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