Author Archives: Scott Bowles

The United States of Redistricting: The Soft Civil War


buy prednisolone for cats uk Lines on a map are not just lines.

They are battle fronts.

Congressional redistricting has always been political trench warfare. But the latest round, spread across dozens of states, feels less like maneuvering for advantage and more like setting the stage for secession by zip code.

What emerges is not just gerrymandering. It’s a soft civil war.

One side of the country redraws districts to keep Democrats corralled in cities. The other side stretches maps like Silly Putty to dilute rural Republican strongholds. Each map is a declaration: you live here, you belong to us, your vote counts less than theirs.

That is the heart of the conflict. The argument isn’t over which party wins a seat. It’s about whether the nation still functions as a single polity, or whether it’s morphing into two countries stitched awkwardly together.

Look at Alabama, Louisiana, Georgia. Courts ordered maps redrawn to give Black voters real representation. Legislatures stalled, appealed, and clawed. The orders stood. But only after years of resistance that said, in plain terms: We do not want you at the table.

Look at New York, North Carolina, Ohio. Democratic judges pull maps one way. Republican judges pull them back. Each ruling is treated less as law than as weaponry.

The result? Voters are no longer electing representatives. Representatives are electing voters.

What makes this combustible is the new level of geographic tribalism. Political affiliation now maps to lifestyle, to schools, to what books sit on library shelves, to whether your child can get gender-affirming care, to whether a woman can get an abortion.

These aren’t small-bore policy questions. They are existential. And they are decided before a single ballot is cast — decided by who is packed into which district.

A voter in Austin lives in one America. A voter two miles outside the city limits lives in another. Cross the wrong line, and your rights change. Your body changes.

This is how civil wars begin: with cartography, not cannons.

There is also a psychological toll. Citizens are told, implicitly, that they must live in a state that aligns with their worldview.

Don’t like the ban on abortion? Move. Don’t like the taxes? Move. Don’t like the books your child can read? Move. Migration as political weapon.

Already, you see the migration patterns hardening. Californians pour into Texas and Nevada. Floridians surge out of blue counties into deep-red exurbs. The Midwest maddens over bipolar disorders.

Each move calcifies the divide. States start to resemble the enclaves of a broken federation rather than the blended communities of a republic.

And the rhetoric matches. Listen to state leaders. “We are the free state of Florida.” “Texas is its own nation.” “California will set the national agenda.”

These are not throwaway lines. They are test runs for sovereignty.

What’s missing is a counterforce. In the 1960s, redistricting fights ended with the Supreme Court’s command: one person, one vote. Today, the Court has washed its bloody hands.

No cavalry is coming.

So where does that leave the voter? Trapped in the trenches. You don’t get to choose your representative. You don’t even get to choose the fight. The lines do that for you. And with each cycle, the trenches deepen.

We are a nation that once fought a bloody civil war over geography and rights. The next one may not be bloody. It may simply be bureaucratic. States hardened into warring camps, people sorted by the colors on their driver’s license, migration replacing musket fire.

So pick a state and buckle up: It’s going to be a bumpy America.

Soft civil war. But civil war all the same.

’ Unknown Caller’ A Flawed Terror


I don’t recommend looking this one up.

This isn’t like Ted Bundy or Jonestown, where you feel like you should already know the story. Unknown Number: The High School Catfish is current, it’s small, and it’s strangely riveting.

The setup is simple enough: a teenager begins receiving a flood of vile and threatening texts. Dozens a day. They keep coming for more than two years. She and her boyfriend live under the constant siege of an invisible tormentor. Police investigate. The FBI steps in.

And then, an hour into the film, comes the reveal that turns everything upside down.

Even knowing there must be a twist, it lands like a blow. The movie earns its reputation on that moment alone, and it deserves praise for how carefully it builds to it. The editing is crisp, the dread grows layer by layer, and the film rarely drifts into padded reenactments or sensational detours.

What it also does is capture the particular venom of female bullying. The synthesized voice reading the texts is almost too effective. Every note of mockery, every cruel taunt, every threat lands with a sting that feels uniquely of this moment. It gives you the sense of what bullying must feel like now, when it doesn’t stop at the schoolyard but follows you into your bedroom, your phone, your sleep.

Watching it is an absolute argument for banning cell phones in schools, as legally twisty as that might be. There’s no “off switch” for cruelty anymore, and the film drives that home.

But as much as I admire the craft, I can’t ignore what it shows about the state of journalism. That reveal gives the filmmakers all the license in the world to lean forward, to press their subject with hard questions.

Why did this happen? What was going through the mind of the person responsible? Did they ever think they’d be caught?

These questions sit there, glowing, but the film never forces answers. The opportunity passes, almost gazingly lost in the trauma unraveling them.

And that trauma is slippery. What counts? Is it the barrage of obscenities? Is it the betrayal of realizing who was behind it? Or is it the way you carry yourself afterward, how you recalibrate your life in the shadow of something you never expected?

One reaction in particular complicates it further. In the film’s most talked-about scene, the victim doesn’t lash out or break down, but accepts comfort from the very person you’d least expect.

Some viewers will see detachment, others will see survival instinct. The film never explains it. Maybe it can’t. Trauma doesn’t always follow a neat arc. Sometimes it produces a scream; sometimes it produces silence.

Still, I recommend Unknown Number. It succeeds in ways most Netflix true crime doesn’t. It’s concise, tightly told, and disturbingly personal. There are no wasted minutes, no pointless digressions. It trusts the story to do the work, and the story delivers.

What lingers afterward are the questions: about journalism, about trauma, about what we’re willing to forgive or excuse. The film doesn’t answer them, but it makes sure you leave asking them.

That may be the highest measure of success for a documentary: that the questions it stirs last longer than the movie itself.