Now, we all know what the Bible says about motion pictures; but the CMARs' cinematic obsession implied no idolatry. To Lucy and her fellow sectarians, disaster cinema was a special, postmodern revelation.
They met in Saturday night conventicles and subjected each film to careful exegesis, probing for patterns, correspondences, and evidence of a secret Text. They made slides of stills and cut footage into their own montages. Lately Lucy had begun to talk about interactive video discs and something called hypermedia.
Veronica didn't understand any of it, though she suspected that Thea would tune right in. Like most sixties survivors -- and like all humanists -- the CMARs believed that art expressed a single idea, in their case an image of the Last Days.
Needless to say, the Gulf War was made for them.