Eternal Subscriptions of the Spotless Mind

We’re living through a time that future media historians will call a major turning point in the digital era. The younger, techier companies that created the modern streaming market, like Netflix and Amazon, have used up their first mover advantage and the regrouped old guard are gearing up to crush them. (Apple are on the tech side, but did not use their first mover advantage, because they’re idiots, presumably.) The biggest conglomerates in the film industry – Disney, AT&T, Comcast, ViacomCBS – will stop licensing their films to streaming services owned by other companies in favour of exclusively streaming them on services they own: Disney+, HBO Max, Peacock and Paramount+ (formerly CBS All Access) respectively. It’s gonna take a few years to make the shift, as deals that were signed before launching these services cannot be rescinded. But they’ll pretty much all be expired by the end of this decade and very few will be renewed, especially once HBO Max, Peacock and Paramount+ go international. That’ll leave any streaming service without a major studio archive increasingly reliant on their original releases as enticement to stay subscribed, which will always be a worse value proposition for a consumer than original releases plus loads of existing films. Amazon seem to be futureproofing Prime against this threat by buying MGM and securing a back catalogue of their own. Netflix and Apple seem to be doing sweet fuck all, but that could change any minute. It’s Silicon Valley vs Hollywood in a fight to the death over which shower of assholes in California get to shape the future of global media, and it terrifies me.

Streaming has only been around for the bones of a decade and it’s already transformed the industry so much, mostly for the worse. Suffocating overproduction, cinemas decimated, expanding power of corporations to censor art. The casualties of the first streaming war (June 2011March 2020) have already been severe, and that was before Disney, one of the most awful, nihilistic media companies in human history, got involved. What fresh horrors will come now the second streaming war (May 2020 – present) is afoot? I obviously can’t know what Bob Iger and his ilk are cooking up in their high rises, but I can try to think like them. I’ve looked at graphs of market trends and nodded slowly, I’ve brainstormed and wordclouded and powerpointed, I’ve put a photo of Martin Scorsese on a dart board and shot it with a revolver. I’ve danced with Minions in the pale moonlight, huffed the helium from Walt Disney’s cryopod and sought prophecy in the entrails of a still-living Boots the Monkey. I’ve read the fucking Economist. And lo, the Invisible Hand came forth from the great maelstrom of the market, laid a single finger on my forehead and answered my prayers. I have seen the future that Disney and all the other rogues will bring about in their ruthless, pointless pursuit of wealth. It has come to me as if in a vision, and, buddy, it is fucked up.

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Speed Racer: The Sundae Presents Episode 4

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Dean shows Ciara his favourite film released in his lifetime: the Wachowski Sisters’ 2008 children’s action blockbuster Speed Racer. They talk about digital effects, sensory overload and whether blockbusters can be anti-capitalist.

Speed Racer The Sundae Presents

we also mentioned: “In Defense of Disco” by Richard Dyer || Sean T. Collins on Speed Racer‘s “fossil-free future” || Lazy Town || Chapo Trap House’s Avatar episode || Speed Racer Is Not an Art Film

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Nightmares / Phases / Professions

A Nightmare on Elm Street 3: Dream Warriors

Asked to picture a mental hospital in a horror film, most of us would think similarly. From old B-movies to Halloween to the recent Happy Death Day and IT, they house dangerous maniacs itching for an escape, a weapon and an unsuspecting innocent to murder. It’s a trope A Nightmare on Elm Street 3: Dream Warriors plays into: a nun reveals that Freddy Krueger was the result of her gang-rape in an asylum, making him “the bastard son of a thousand maniacs.”

But Dream Warriors also flips this on its head. Our heroes, teenagers in a psychiatric unit, are all tormented by Freddy in their dreams, and Freddy is both a metaphor and a catalyst for mental health problems. Kristen Parker (Patricia Arquette) lands in the hospital after Freddy slits her wrists, but the other kids – in desperate attempts to stay awake or just deal with the trauma of their dreams – exhibit symptoms of mental illness. Jennifer puts out cigarettes on her arms. Will is paralyzed at the waist after a botched suicide attempt. Joey, once a high school debater, is mute.

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How Christopher Landon Is Reinventing The Slasher Movie [Fangoria]

Slasher movies occupy an unusual position within horror, and within film in general. As a genre, its scope is extremely narrow, yet its formula is endlessly replicable: somebody stabs a bunch of teenagers, culminating in a face-off between the killer and the final girl. Laurie Strode fended off Michael Myers and launched a thousand imitators.

The slasher movie’s peak, both creatively and in popularity, is also when it was most reviled critically. In the 1970s and 1980s, slasher movies were considered the bottom of the barrel, barely inching out pornography in artistic merit (and second only to pornography in VHS rentals). Critics Gene Siskel and Roger Ebert were so disgusted by the original Friday the 13th that they told their viewers to write letters of complaint to its producers and star Betsy Palmer. It’s only in the subsequent decades that slashers have been taken seriously enough to recognize that great slasher movies are great movies, period. Yet simultaneously, the genre has gone into decline.

I wrote about Christopher Landon’s recent run of slasher movies, Happy Death Day, Happy Death Day 2U and Freaky, for Fangoria! (Fangoria!!!) You can read it here.

God Help Bobby and Helen: Panic in Needle Park at 50 [Crooked Marquee]

“God help Bobby and Helen,” reads the original poster. “They’re in love in Needle Park.” Helen (Kitty Winn) leans on Bobby (Al Pacino, in his first starring role), arm around his shoulder and eyes downcast; Bobby kisses her cheek. It’s not clear from the still image of the poster if Helen is hanging onto him carefree and in love – a candid shot in motion as she laughs and moves – or if she’s out of it and can barely stand. The film itself answers: both. 

I wrote about The Panic in Needle Park on Crooked Marquee for its fiftieth anniversary. Read it here!

Hitman Hart: Wrestling with Shadows Transcends the Genre It Pioneered [Fanbyte]

Hitman Hart: Wrestling with Shadows is one of the best documentaries about anything ever. It follows Bret “The Hitman” Hart’s last year in the WWF in 1997, as the promotion battles Ted Turner’s WCW in the ratings and the rise of antiheroes makes Hart’s status as wrestling’s number one good guy precarious. Like so many of my favorite documentaries, Wrestling with Shadows is about something narrow—vividly capturing a specific, strange moment in the history of professional wrestling—in a way that grasps towards the universal, telling a moving human story. Like so many of my favourite documentaries, I can’t believe how much the filmmakers totally lucked out in being there to capture this story. Yet Wrestling with Shadows tends to get slotted into the category “wrestling documentary” as a kind of ghetto. The assumption by wrestling fandom and the general public alike that it could only appeal to existing wrestling fans is self-fulfilling: Only wrestling fans end up watching it, proving that it could only appeal to existing wrestling fans.

I wrote about the amazing documentary Hitman Hart: Wrestling with Shadows for Fanbyte! Read it here.

Vertigo: The Sundae Presents Episode 3

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Ciara makes Dean watch only his third Alfred Hitchcock film, the 1958 classic Vertigo. They talk about cops, pretty colours, and Dean’s aversion to films made between 1934 and 1967. 

we also mentioned: The Hays Code || dolly zooms || Socially Awkward Penguin || James F. Maxfield and Vertigo as ‘An Occurrence at Owl Creek Bridge’

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The Tragic Intimacy of Asif Kapadia’s Archival Trilogy

Documentaries are too often not treated as films proper. They’re talked about less as a type of film than a totally separate art form, shunted off in the back somewhere. No documentary has ever been nominated for the Oscar for Best Picture. I realise the Oscars have a pretty blinkered point of view, but even other forms of cinema ghettoised at the Oscars have gotten some Best Picture nominations: thirteen films not in the English language, only a handful of horror movies, just three animated films, but not a single documentary. It’s kind of insane, if you think about it.

Part of it is that way too many documentaries are not made like films proper. Far too many rely so heavily on their subject being of interest that they don’t make the telling interesting in its own right. You just film a bunch of talking heads saying what happened and call it a day. I’m not criticising documentaries as a whole, here – lots and lots and lots of fiction films are visually lazy and uninteresting, and if the subject is strong enough, a documentary can be great whether it’s boldly ambitious or just talking heads telling you what happened. I recently watched a TV documentary about Mike Nichols and Elaine May, and even though the talking heads were more or less entirely boring and terrible, I still enjoyed it because it had lots of clips of Nichols and May sketches. But I think that exact strength allows us to imagine that documentaries are good if their subjects are interesting, that nothing much else goes into it. It allows us to buy into the division of documentaries from the rest of filmmaking. I think all the time about Michael Moore’s frustration at being called a “documentarian”, rather than a documentary filmmaker, since it’s not like people call Martin Scorsese a fiction-atarian. (The irony, of course, is that Scorsese is an accomplished documentary filmmaker too, but most of the time nobody talks about his documentaries in the same breath as his fiction films.)

I love Asif Kapadia’s documentaries in part because there’s no way that anyone, even subconsciously, could think of them not as “real” films. His 2010 film Senna – about the life and career of Formula One driver Ayrton Senna – is a sports movie in the truest sense, following his rivalry with Alain Prost like Rocky and Apollo Creed. Senna was followed by Amy, his Oscar-winning documentary about Amy Winehouse, in 2015, and Diego Maradona in 2019. Senna, Amy and Diego Maradona form a trilogy both thematically and stylistically: each is a chronicle of creative genius and the pressure of fame, pieced together from archival footage.

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Wings of Desire: The Sundae Presents Episode 2

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Dean had Ciara watch Wings of Desire five years after they were supposed to see it in the cinema together. They talk about war, peace, and ‘Iris’ by the Goo Goo Dolls.

Wings of Desire The Sundae Presents

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A Woman Waging War: Ms .45 at 40 [Crooked Marquee]

Abel Ferrera’s directorial career has spanned grindhouse to arthouse, making his debut with a hardcore porn film – 9 Lives of a Wet Pussy (1976) – and ending up, four decades later, the subject of an exhibition at the Museum of Modern Art in New York. The best of his films encompass both ends of the spectrum simultaneously, upending the very idea of each as the other’s opposite: grimy exploitation and transcendent beauty, all at once. 

I wrote about rape-revenge classic Ms .45‘s fortieth anniversary for Crooked Marquee! Read it here.