but if you haven’t seen this you must. I think it figures sublimity in a number of different ways at once: there’s Benjamin’s eternal now, the momentary release from normal time, there’s the sublimity of the spectacle (of the Lyciusian god-like athleticism, and popcultural celebrity), and there’s also a sublimity of spectatorship, of this vast global audience and media matrix through which the spectacle gets infinitely reprocessed and refashioned. But the real genius of the piece I think is the deep interplay it suggests between the spectacle and spectatorship: that the essence of the sublime athletic feat was from the beginning an anticipation of the spectacle it would become, how it would be appropriated by its spectators. The sublime spectacle is nothing but the way it anticipates itself (hence “write the future”). By the same token, this means that what the spectators admire is in a sense nothing but their own spectatorship which the spectacle reflects back to them. This relates to the role of celebrity in The Searchers addressed in question #3 below: Ford uses Nathalie Wood to bring the audience’s fantasies into the action of the narrative, just as the fans’ fantasies of the soccer star become a part of the action that constitutes the star as such.