A cultural grief process?
The 2012 myth has intrigued the fictional world, as well: last year, “Melancholia”, the latest film from Danish director Lars von Trier used it as its backdrop, and during the 2012 Superbowl there was even an ad that borrowed the conceit to sell Chevrolets. Barring a handful of people running Mayan apocalypse Web sites, there is a strange, smirking subtext to those who cite 2012, an overarching sense of cynicism that seems almost gleeful that we could be destined for our comeuppance. Maybe it’s simply because everyone believes that they will be among the handful of survivors, but humanity really seems to hate itself—which is fortuitous, since we will probably be responsible for our own demise.
Truth and Traditions 
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