The

The that she loved.

Another thought I had, John, while you were speaking.

So this, I mean, this, the Patreon here is about the Cold War.

But Wells' character in this idea of conflict being necessary, strife being necessary for sort of the aesthetic development of mankind is a very

kind of post-Cold War thing. It's very end of history, like the dilemmas of the end of history

that we've talked about in the main feed of the worry, the fear, the concern after the Soviet Union's defeated that in the absence of great power conflict,

in the absence of this sort of civilizational struggle, that the United States, that Western society will fall into decadence.

And there's a clear through line between

Harry Lyme and some of the war profiteers or rogue members of the military establishment that we

encounter in some of these post-war, post-Cold

war films. And what's interesting to me about that, and maybe I just don't have as quite a

good as handle in kind of the post-second world war cultural life is that it did not, it does not

seem to me as if there was like a fear in the wake of the end of

the, that, that, that was the war to end all war. There was none of that, right? There was none of the

sort of like, we're out of conflict is behind us and we're in this new world. But maybe I have

that wrong. No, I don't think you're wrong.

I think there's two interesting things you can say about that.

There was a kind of...

Okay, well, there's two things.

There is existentialism in the direct post-war years,

which, because of the experience of the war and totalitarianism, comes up with a fairly

...