Timeline 191 Might be a Stranger World than What It Seems

I intended the next topic to be more about scientific thought but it morphed more unto social tendencies and thought but it still works. But before going on I want to make a few more points about film.

The montage, also known as the Rocky training sequence, might not be developed until much, much later. Why? Well because Soviet propaganda will be not come into being. And it was the commie filmmakers who figured out how to make the montage work, and that audiences could relate one image to the next.
Or… the other possibility could be that Hollywood cinema might look like Soviet cinema. It is very likely that after the failure of the Bolshevik uprising pro-communist talent in Russia will flee Russia and settle down in the more socialist friendly US. Whichever the case we can assume that the Rocky saga will not exist anyway.
Also it is mentioned that the Confederacy had a film industry based in Florida. These studios are likely to survive and produce independent films, which will probably remain popular amongst ex-Confederate audiences.

Ok moving on Social Thought

In OTL the prevailing anthropological thought leading up to WWI was that civilization progressed linearly. This mixed with Social Darwinism gave the perfect justification for the scramble for Africa and other colonialist ventures. People did believe that Europeans were higher on the evolutionary ladder than Africans, Southeast Asians, etc; this was true even within serious scientific discourse. Past WWI people became somewhat uncomfortable with the idea that civilization progressed linearly; after all if this was the case, why would civilization cause such devastation? Nevertheless Social Darwinism continued through the interwar period culminating in Nazi ideology. With the defeat of the Nazis and the end of WWII both ideologies were shelved, and remain shelved up until today.
Now in TL 191 we have a completely different result coming out of the Great War. A German victory at this time might actually reinforce the idea of linear progress. Even in OTL the unification of Germany and its rapid growth was used to defend this idea. America’s expansion and success also helped; Roosevelt actually wrote numerous essays on the subject. His victory would have only further encouraged the thought that linear progress is the way to go. This would help re-justify the new imperialism that America and Germany lead. For example: the annexation of the Confederacy can be justified by saying that the US turned out to be the more civilized of the two republics and thus it will bring its notions of civilization to the Confederacy who was still hindered by its believe in segregation.
Now TL 191 has its own holocaust, and it is mentioned that its atrocities were enough to make people think differently about race. However this event did not happen in Europe. So it is hard to know how Europe will respond. Will it learn from America’s mistake or will it also have future genocides of its own? Furthermore it can be argued that Featherston’s actions unlike Hitler’s were not driven by a believe in racial superiority; Early in the novels it is stated that he is wary of blacks because he, unlike most Confederates, realized blacks were not stupid and the red revolt proved it to him. This genocide was not based on the fact that black were inferior but rather that blacks were treacherous back stabbers.
It is hard to know how a very different world from our own would react to genocide. TL 191 would look at these events differently than how we do. Little changes on what people talk about and what get taught at schools can make a great difference on culture, which will then build up and have a large influence in events.
My guess is that the Social Darwinism like in OTL will cease to exist as an ideology, although it might not fully go away. Linear progress however might remain for a rather long time. In OTL the collapse of Europe as the pinnacle of civilization helped inspire many nationalist movements in Africa that lead to their independence; in Latin America, the movement resulted in a boom in literary and cultural works and a stance against American influence which ended with Cuba going commie and later Venezuela joining OPEC and placing the embargo on the US in the 1970s. In developed nations, particularly the US, this resulted in minorities demanding a voice and the Civil Rights Movement. Such thought is still a major cultural, and as a consequence political, debate in Latin America, Africa and other developing nations today; is the culture of these countries en par to that of the developed world? Is it inferior? Or does their traditional values and close connection to their customs makes it richer and therefore superior? Does neo-imperialism threaten their culture or rather help it become civilized? Even in developed nations the issue of minorities is still pressed and in the US it is a particularly important issue.
In TL191 it seems that the argument encouraged by the victorious US and Germany, who remain grossly imperial, would one based in the linear progress theory. It is the job of world powers to bring civilization to the far out reaches of the world. However I do not think this way of thinking can last very long past the time in which the novels end.

A small note about the Space Race

If one thing will definitely change it will be the absence of the Soviet Union as a rival power to the US. Yes, the US and Germany will likely fall into one of their own along with Japan as a third power but this is not a war of ideologies. The US will not have to win space to prove democracy and free markets are superior to communism. The Technological Race in TL 191 will be a much more peaceful one, with greater cooperation between countries. This will result in one of two either a faster development do to cooperation or a slower one because there is no strong rivalry to drive it. The same thing will be for the development of arms further along.
War tactics will also change due to the “terrorist” threat. The US is now filled with angry Mormons, Canadians and Confederates. The same goes for Germany as apparently French and Belgians learned guerrilla tactics sometime during the interwar period. This is somewhat non-historical but it is still part of TL191.
I think these were all the points I wanted to make. Not sure if I figure out something else I will post. You guys are welcome to continue as much as you like. Let's explore cultural changes they do often get ignored in AH and culture is as much a part of History as politics and military. And just like conflict can create changes in culture, culture can create conflict which will in turn change culture once again.
 
Furthermore it can be argued that Featherston’s actions unlike Hitler’s were not driven by a believe in racial superiority; Early in the novels it is stated that he is wary of blacks because he, unlike most Confederates, realized blacks were not stupid and the red revolt proved it to him. This genocide was not based on the fact that black were inferior but rather that blacks were treacherous back stabbers.

But it's the same thing with Hitler isn't it? Hitler and Nazi propaganda portrayed the Jews as both inferior and treacherous back stabbers with the "stabbed in the back legend". So based on that, being intelligent and inferior aren't mutually exclusive. They seemed to be in antisemitic propaganda, a secret cabal of powerful, nefarious, scheming (& intelligent), supper villains, controlling all the world's banks and media, yet at the same time, still thought of as "inferior".


There will also be a large change in the genres that become popular. In OTL early Hollywood loved Westerns; they are after all the base of the American myth. In TL 191 this myth has been replaced by, and I quote Woodrow Wilson in American Front, “a dark and bitter one”. Remembrance is the new American myth. There will be much more films about the Great War and how American and Germany obtained their place in the sun. These Films will triumph imperialism, remembrance, and the American-German way.
Can you expound on "Remembrance" as a major theme in American cinema? You say that Remembrance will replace the Western as THE American film genre. Now, the American West was such a cinematic place with vast, sprawling Desert landscapes, beautiful sunsets, flexible cowboy-Indian & sheriff-bandit dynamics, etc.

But what elements make up a Remembrance film? What is the major setting of the Remembrance film? The Great War? Because in my opinion, trenches aren't as cinematic as the West, especially in black and white. American audiences would have to be bored and fed up of having to visit a cramped, crowded and claustrophobic trench every time they go to watch a "Remembrance" film, especially if they are as common as OTL Westerns.
 
There would not necessarily be a Remembrance genre as there is a Western genre. Rather Remembrance will probably be held as a major theme spanning American literature and cinema as the American Dream was in OTL.
I'm trying to think of an example it is not necessarily a good one so I will probably end up rewriting it but anyway: In a Western film of early Hollywood, the plot usually consisted of a group of people, (meant to represent all different kinds of Americans), would have a crappy life in the East-coast; the head of the family just went bankrupted and his landlord kicked him out of the house; so he rallies his relatives and convinces them that they can find a better life out in the West; the West however will turn out not to be as friendly as predicted but nevertheless they will make it through and settle down in a small farm by a lovely stream. Only the oldest people of the group died and the strapping young son met a beautiful lass along the way and we might or might not get to see their wedding. Stagecoach (Ford 1939) is an excellent example.
I am talking about the Hollywood before WWII, in OTL a very progressive movement took hold of cinema in the 60s and changed the classical genres quite drastically. In this new Western the West was not a friendly place (many times the protagonist was a villain and for the fist time the role of Confederate veterans in settling the west was touched upon). This is the Western audiences today are more likely to be familiar with. Any Clint Eastwood film works as an example.
A Western with a Remembrance theme might be something around middle. It will show the protagonist in a home which is no longer peaceful. But rather than moving away he will fight to keep it. In the process he will make unlikely allies together they will make a stand for what they believe in and subdue whatever disturbed the peace. The setting could still be the West but the way to go about it will be completely different. Am early Western in TL191 might actually look like a later Western in OTL minus the references to the Civil War.
Furthermore the Rembrance theme will also be carried onto other genres. And there will be a lot of films made about the Great War; trenches might not be a nice setting but war does give good stories, and this war happened in American soil! Plus not all battles were fought in trenches. There where also naval battles, air battles, battles fought in the vast prairies; they are all also very good material.
 
I think that there would probably be a clash between the U.S. and Germany (if for no other reason than this is Turtledove were talking about) and I think that since there is no communism to worry about the cold war between Germany and the U.S. would be caused by differnet government system's (republicanism and monarchism). EDIT: And about the Remembrance theme, I agree that trenches probably wouldn't be the most popular, and they won that war so perhaps they would instead make massive numbers of films on the War of Seccession and the Second Mexican war?
 
There will also be a large change in the genres that become popular. In OTL early Hollywood loved Westerns; they are after all the base of the American myth. In TL 191 this myth has been replaced by, and I quote Woodrow Wilson in American Front, “a dark and bitter one”. Remembrance is the new American myth. There will be much more films about the Great War and how American and Germany obtained their place in the sun. These Films will triumph imperialism, remembrance, and the American-German way.

Another thing about Remembrance, didn't it mostly disappear after the Great War? By the time film technology and culture really develops in the 20's and 30's, America has won the Great War and there is no more need for Remembrance. Or does it have such a sheer impact on America that even after it disappearance as a political ideology, it still remains as a cultural phenomenon? If that is so and "dark and bitter" Remembrance remains the major theme of cinema in the victorious United States then what more in the defeated Confederacy? Isn't it much worse off than the defeated US ever was in the 19th Century? Does that mean that CS cinema is darker and more bitter than American cinema? Or does something else happen to it?

Something that hasn't been explored in depth here is Confederate cinema. What is it like especially after the war? Is it like Weimar cinema and does the CS undergo a Weimar period in film and the arts in general?

In OTL, Weimar culture was such a golden age, an explosion of new ideas and bold experimentation greatly because of the loosening up of German society due to its transformation from an Empire into a liberal Republic and the disappearance of the conservative ruling forces which had been at the head of the former Empire. In TTL, that doesn't happen and the conservative Southern aristocracy remains in power after the war. Sure, they become unpopular and distrusted and their traditional role as leaders of Confederate society is questioned but they retain their monopoly in Confederate politics. There doesn't seem to be any major alternatives to the Whigs until the Freedom Party's rise to prominence.

So anyway what is postwar Confederate cinema like? My guess is that the big film studios in Florida, would most likely be churning out romantic comedies and classic southern period pieces, featuring southern belles like 1938's Jezebel. This would be accompanied by action-adventures, lighthearted musicals with both blackface performers and real black performers as well as the occasional epic like Gone With the Wind (I say occasional because the CS was tight on cash and couldn't afford to have so many every year). So the Confederate studios in Florida would sort of resemble Hollywood a little bit. Florida would produce movies like these because the studios would most probably be owned by Southern aristocrats, being the producers and financiers. Now the Southern aristocrats would want to keep content and happy the Confederate people amidst the crushing conditions of life in the postwar CS, to distract the disgruntled people as much as possible from eventually opening their eyes to the aristocracy's faults and follies in failing the CS in leading it to defeat during the war. And films like the ones mentioned are the ones to do just that.

However there would also be another dimension to postwar Confederate film, the filmic mouthpiece of the popular cultural reaction to the defeat, the Confederate indie, films made outside the Florida studio machine. Now IOTL, Weimar-era German Expressionism in Film developed from the economic difficulties of postwar Germany. Not being able to afford the big sets of Hollywood, they turned to manipulating the light and shadows, using symbols, etc. to make up for it. Something like this would probably also happen in the CS with non-studio filmmakers discovering new innovations like these. Although without the free, liberal mood of Weimar, these kinds of films, especially the ones dealing with touchy political subject matters, would most likely be suppressed by the authorities.

Because of that, I can imagine the Confederate "expressionists" or whatever they are called, moving to the "fringe" areas of the CS, the Spanish-speaking Radical Liberal states, Sonora, Chihuahua and Cuba. There they can flourish a little more. Spanish would be the language of most of the films they make there. I can imagine a strong stream of Spanish-Confederate expressionist horror movies, the equivalents of OTL's Nosferatu and Dr. Caligari, I don't know what they'd be called but the prominent image I see in them is that of Mexican Day of the Dead zombies running around and eating people. There'd also probably be Voodoo-themed expressionist horror films in Louisiana and Cuba.

Let me also speculate on the wider postwar Confederate art scene. I'd imagine there'd be a kind of Confederate romanticism (much like the German one) to accompany the rising nationalist, patriotic revanchism of the postwar CS. This would be an artistic movement consisting of landscapes of the Southern countryside, literature and theater set in the Confederate golden age of the late 19th Century as well as war stories and images from the Great War except that they would be much more patriotic and heroic, as opposed to the grim & gritty tone of Remembrance-themed American Great War stories & images. As an analogue of the German volkische movement and to represent the populist aspects of the coming Freedom regime, there could also probably also be a glorification and romanticization of the Southern yeoman. And as a precursor to the Freedomite era, black people and to a much lesser extent, the aristocracy would be demonized recurrently in this artistic movement.

Adversely, there could also be strange, new Weimar-style modernist movement emerging out of the Confederacy to accompany and compliment the economic distress and sense of loss of the postwar CS but again, without the free, liberal atmosphere of Weimar, I don't see such a movement thriving. Its artists would probably only be a significant minority in the postwar CS art scene as they would probably loose out to the romanticists.
 
I'm liking this a lot, jycee. And it's useful, too.:p Let me ask, would you expect Bauhaus without WW1/WW2 (by any name...)?

I get the feeling HT's just lifting OTL events, changing the names to protect him from a lawsuit, & hoping nobody notices. (Right down to not changing the dates!)

I'm not so sure you get no R&R, tho. C/W came out of German polka, & R&R was mix African & C/W, as I understand it. Maybe Africa's birthplace of R&R. (Hmm, Ladysmith Black Mombaso doing "Africa"...?:D "I hear the drums echoing tonight..." Or Graceland?:p) I've got to say, I'm as bored with Cuban music being the main influence as a lot of other people. Why not calypso or reggae? (CDB meets Bony M?:eek:)

You realize if there's no Dadaism, you butterfly Grant Morrison's DP. You do realize what a crisis that would be, don't you?:eek: (Of course, if you really do understand Grant's DP, you'd be the only one.:p)

About film, I wonder if a weaker Hollywood doesn't mean stronger regional film industries. Canada, for instance. Does it mean more Canadian presence in the U.S. film business? More U.S. productions shot here? More, & better,:eek: Canadian films? (Hmm... "Speed" shot in, & visibly about, Toronto, instead?) Does it mean more globally-popular chopsocky/wuxia films? Bruce & Jackie being bigger much sooner? Stronger regional TV, too? Especially Canada, in this instance. "NYPD Blue" about Toronto or Vancouver PD, instead? (OK, "24" would probably still be a U.S. agency...) Gene might've had to emigrate to get "STTOS" made, say.

If "remembrance" is a stronger theme, I'd expect the Southern wouldn't have died out. It might even be the big moneymaker genre in CSA. (Picture "Dallas" meets "GWTW".) There'd have been no reluctance to shoot "GWTW" TTL, or "The Klansman" or "Birth of a Nation"... (Don't expect you'd see "In the Heat of the Night", tho.:D The theatre just keeps burning down...:eek: How hot can it get in Georgia, anyhow?:p)

Presuming Kurosawa is as popular, if not moreso, in Europe, but less in U.S./CS, & foreign films face some resistance (or am I misreading you?), does that butterfly Sergio's "man with no name" & Clint's career? Or does he do TV & B Westerns til he gets his big break in "Death Wish"? (Can I suggest somebody feature him as Bolan in the film version of Pendleton's first novel?) With, say, Ernie Borgnine or somebody in "Dirty Harry", & no sequels?

About use of montage: give filmmakers some credit. They might do what John Ford (Capra?) did with his WW2 propaganda fimls: steal the best techniques of his enemies... And NFB produced some pretty smart people. (NFB won the first Oscar for documentary, BTW.:cool:)

On culture, would you expect pulp mags to be as popular in the '30s as OTL? Would you expect comics to be? Or even happen? Many (most?) of the early creators were Jews... Which also applied to Hollywood, BTW, which is one of the reasons the U.S. became so idealized in film: it was so welcoming to Jews, compared to other places, the creators "whitewashed" it on film. OTOH, Jerry & Joe created "Superjew" & made him a flawless icon...& Stan made Pete "Superzhlub"... (OK, so Superzhlub, or Blue Beetle, more closely approximate what most of us would turn into if we got bitten by an irradiated wombat...:p) I have a sense from what you've said any super-types would be frowned on, as "more equal". OTOH, I can see a "Nazi" government creating a book &/or TV/film series about a "tame" equal of Captain America, in the fashion of Justice Machine.
 
Something that hasn't been explored in depth here is Confederate cinema. What is it like especially after the war? Is it like Weimar cinema and does the CS undergo a Weimar period in film and the arts in general?

As you said it is unlikely that Confederate cinema would resemble Weimar cinema since the Confederacy showed little signs of going liberal. My guess is that Confederate cinema would have suffered greatly due to censorship even before the Freedom Party.
However without the liberal weimar republic I due question what happened to filmmakers like Lang or Murnau did German Expressionism still happen? My guess it that it would but to a lesser extent and they would never move to Hollywood, which would be a huge detriment to American cinema as Hollywood depended largely on its input of foreign talent.

I'm liking this a lot, jycee. And it's useful, too. Let me ask, would you expect Bauhaus without WW1/WW2 (by any name...)?

Unlikely many of the German modernist movements were a reaction against Nazi art. If France under the Action Francaise does adopt modernism such movement might be demonized later on. As it happened in OTL with neoclassicism, which has Hitler's preference.

About film, I wonder if a weaker Hollywood doesn't mean stronger regional film industries. Canada, for instance
Unfortunately although stronger regional film industries are likely to show up. Canadian cinema would be sort of non-existent since well it is occupied by the US, who is trying to make Canada more American and less Canadian. Sorry man, I know how it feels. :(

I think Kurosawa's influence would butterfly out particularly in this weird version of Japan. But since HT is expert in throwing in pop culture references Eastwood might still be around in the future. What type of films will he be making mmm... who knows?

On culture, would you expect pulp mags to be as popular in the '30s as OTL? Would you expect comics to be? Or even happen?

HT does mention hyperman as a confederate response to an US comic (presumably superman). However superman's creation in OTL is something rather specific. As you said it was created by two sons of Jewish immigrants, one from Canada and one from the US. The comic is both a nod to the American Dream in terms of immigrating to the US (superman is an alien and becomes the symbol of the American dream) and a response to the rising idea of the superman in Nazi Germany. The existence of hyperman is quite puzzling? It is likely that the Freedom party uses it as means of propaganda. The villains would be treacherous blacks within and evil Yankee-German conspiracy. But what exactly is its US counterpart who knows. Maybe something like Captain Remembrance.
 
jycee, I really wish HT had put as much thought into his TL's culture and politics as you have. ;)

And I agree with many here: this is great info period, 191 or not.

Please continue!
 
In OTL neo-classicism was demonized because it was the Nazi’s preferred form of art. In TL191 it is much more likely that France would trying to restore Paris’ stance as the world’s art capital, a title that now probably belongs to New York or Berlin. To do so the French would try to be as avant-garde as possible. After France’s defeat in the Second Great War it is much more likely that modernism will be the demonized art.

The other point regards with France avante-garde attitude. Even if the Actione Francaise is very reactionary, they will be reacting against the new New, which in TL 191 is most probably German art prior to the Great War. In OTL this was German Romanticism and I will assume this remains unchanged. France will be trying to restore France status as the art capital, and reacting against the Germans by being more French which in this case would involve being as modernist as possible.

I read up a little on the Action Francaise and it turns out that if ever they were to come to power in France that they would not be supporting modernism but rather an even stronger Classicism than the Nazis. Their leader Charles Maurass' entire political thought and philosophy, not only his artistic taste was dominated by staunch Classicism as he saw everything in an unflinching Greco-Latin worldview and believed that France inherited its greatness from its heritage as a former Roman province. Now you're right in that they did oppose German romanticism and sentimentality but that opposition came in the form of Classicism rather than modernism.

As you said it is unlikely that Confederate cinema would resemble Weimar cinema since the Confederacy showed little signs of going liberal. My guess is that Confederate cinema would have suffered greatly due to censorship even before the Freedom Party.

Can you comment on the stuff I said on post#25? I'd like to know if you agree, esp. the part about Confederate independent filmmakers moving to the "fringe" Spanish-speaking states to escape censorship and the Florida studio machine, where they would end up making expressionist Mexican zombie movies as equivalents of OTL's Nosferatu and The Cabinet of Dr. Caligari. It's a very strange and interesting idea to me.
 
Hey Hamburger, first of all thanks for the info on Action Francaise. I admit I new very little about the subject and was only speculating in that matter. In that case it is likely for movements such as Bauhaus to gain momentum in Germany as a different form of modernism / expressionism along side the existing romanticism which I still believe might be the prevalent art movement particularly due to the absence of Weimar culture.
However I was thinking that maybe the US under the Sinclair administration during the 20s might take the spotlight under liberalism. Surely the new pseudo-socialist administration would have a big effect on culture. We went over its effects in daily life a bit when we talked about Union buildings and guild halls. In terms of art this might also be quite liberating. Another thought I had was that since Jewish persecution seems to be going on in Russia under the tzars restoration many Russian Jews would immigrate into the US. Their talent might actually make up for the talent gap caused by the lack of German immigration. Though they might also immigrate to Germany and thus Germany would be a large talent melting pot, which is also likely to happen, perhaps even more so.
About the fringe cinema in the Confederacy; I really like the idea. In OTL most of that early independent cinema did occur in places like Germany, though most of the talent then left to the US. Some early independent American cinema was also mostly filmed in Mexico were the revolution produced a profitable backdrop. So yes I think that type of Confederate cinema is likely to arise, maybe not about Mexican zombies (that might depend on how popular things like Dia de Muertos stay within Mexican Confederates) but definitely deal in similar subjects. The South does have its good share of urban myths and mystic culture. Also during the interwar years liberals are highly marginalized in the Confederacy and they would be likely to go to a distant state Sonora and Chihuahua most probably as Cuba would be too close to the Florida Film Factory (Ooh I like that Triple F Productions), and they also have the Mexican Civil War as their backdrop. Like OTL German counterparts they are also likely to end up working for Hollywood or New York (most likely Hollywood since its closer) once the Freedom Party is in power and they begin prosecuting what they would consider non-patriotic Confederates, I guess liberal artists do fall in this category.
In the conservative end of Confederate Cinema in Florida you mentioned a Gone With the Wind epic. I would also add a Birth of a Nation epic to start it off after all that was Hollywood's first baby in OTL, by Griffith, who would probably be butterflied in this TL but if he is not he would be a Confederate National. However in OTL Griffith, as racist as he was, he was also quite a liberal an outspoken suffragist and a pacifist. I am not sure where he would fit in once the Freedom party is in power. Will he still make his pacifist epic like Intolerance or would he stick to his more conservative earlier movies?
(I wonder which is the actual city in Florida the Confederacy hosts its cinema studios? Tampa would be my best guess or whatever in in the place of Miami, which at this point did not exist in OTL).
 
Also the idea that this films are in Spanish is a very good one. Even today television shows use other languages to get past censorship in TV during cursing. Funny that you can say "Chinga tu Puta Madre" in TV and get away with it but the equivalent in English is considered profane. In my opinion they both mean the same. The same thing goes for PG movies that say "Darn you to Heck" and "Fudge You" the idea is still there. But oh well the MPAA say it does not count so people are forced to use such euphemisms. Yeah I went a bit off topic but lets think about this a bit more.
In OTL before the Rating system we have today there was the Production Code. Basically if you got a PC seal your movie could be release if you didn't you could only exhibit in small independent theaters and your movie would never become very popular (there were of course a few exceptions). How strong would such a code be in TL 191? Probably very strong in the confederacy. But in the US it has to take care of a much more spread out cinema industry. Would New York and Hollywood have the same code? I think censorship in the US would be much more relaxed than in OTL.
 
I've talked to jycee about some minor things and he said more or less:

the US is going to be more socially progressive

regional parties will spring up, mainly in the south and canada and will be unorganized

computer tech will be slower

highways won't be as developed, so airplanes and trains will be more popular

the 50s won't be the pleasant, perfect time it was OTL

US fashion will be more regionalized and look toward Berlin rather than Paris

Los Cabos may be become like Miami is OTL

the Republicans will be like a more widespread Libertarian Party

the US House will have between 450-500 seats

the Chicano movement will come earlier and be more widespread, along with the Native American movement

The voter turnout will be higher among all age groups, as the people will be more demanding overall

Peace, Order, and Good Government will also hold true in the US, as in Canada, but the Americans won't want to admit it came from Canada

Remembrance Day will be a combination of Independence Day and Thanksgiving and Day of the Dead and Halloween may combine into one holiday

Hate speech will be more latinamericanized used in everyday speech and taken less seriously, be considered rude

Drug laws determined by the state

Prostitution laws determined in each county
 
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