bell hooks is wrong about The Piano

bell hooks is wrong about The Piano

In 1994, feminist writer bell hooks wrote an article about gangster rap. She both condemns the misogyny and violence of gangster rap and the hypocrisy of its white critics, who treat that misogyny and violence as unique to young black men. Gangster rap, she says, is not an aberration or subversion but a reflection of mainstream culture’s values. I don’t really agree with a lot of her points – the part where she describes the cover of Snoop Dogg’s Doggystyle as pornographic seems over the top, and she makes no room for genuinely subversive racial politics in gangster rap – but I get where she’s coming from. To make her point, she wants to draw contrast with another popular piece of art, made by a white woman, that also reflects the mainstream valorisation of misogyny and male violence but hasn’t received the same backlash. She picks a terrible example.

bell hooks is wrong about The Piano.

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A Mid-Life Crisis in North Dakota

A Mid-Life Crisis in North Dakota

Dennis Reynolds is a bad man. All the characters on It’s Always Sunny in Philadelphia are awful people – it’s kind of the premise of the show – but Dennis still stands apart. Like the rest of the Gang, he’s all narcissism, bigotry, and rage, ready to explode at any moment at anyone he perceives to have crossed him. Once, when a guy called him a narc, Dennis’s revenge was getting the guy to chain himself to a tree overnight during a storm while Dennis slept with his girlfriend, and that’s pretty mild when you’re grading on the Dennis curve of bad behaviour. He’s a prolific rapist, and he might be a serial killer.

He’s also one of the best characters in the history of TV.

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Cancelled Too Soon: Sense8

Cancelled Too Soon: Sense8

This article is the part of the Cancelled Too Soon series. Previously, The Booth at the End.


There was a time not that long ago when Netflix could have had an actual identity instead of trying to become all of television by churning out exponentially more content than anyone else. It was a brief moment, between the initial excitement of the binge-viewing boom and the current glut of infinite trash when there were signs that Netflix, whatever else it was, could be the place to find the most innovative and exciting television anywhere in the world. Freed from the content limitations of traditional television, disinterested in dominating the direction of their original series, for a second there, Netflix was making television that was unlike anything else you’d ever seen. Some of it was thematically groundbreaking – Orange is the New Black, BoJack Horseman, Jessica Jones – and some of it was blowing up what we thought television could be as a medium – Lady Dynamite, The Get Down and, more than any other, Sense8.

But now it’s the future and the ones that were redefining the medium are all cancelled and Jessica Jones is gone to shit and Netflix’s brand is just excess for its own sake. When someone tells you about a new HBO show, HBO’s reputation tells you what the pull is: high production values, name actors, writer-driven shows with dark and complex themes. When you hear about a new Netflix show, there’s no sense of what it might be, because you’re already thinking about how you’re not going to watch it because you still haven’t watched the fifty other shows Netflix released in the past twenty minutes.

I mean, you haven’t even watched Sense8 yet, and Sense8 is one of the greatest television shows ever made.

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What About Me? What Am I Going To Do?

What About Me? What Am I Going To Do?

Rewatching The Inbetweeners in 2018 has been full of surprises. Mostly, I was taken aback by how evocative it is of its time. I rarely think of the late 2000s as having any kind of distinct culture – it seems most of the time that we haven’t had a decade, in a cultural sense, since the 1990s – but The Inbetweeners looks and feels like a show made very specifically between 2008 and 2010, like a weird kind of time capsule. The cringe comedy, the music choices (remember The Wombats?), an honest-to-God reference to Crazy Frog. There’s some stuff that hasn’t aged well – the voiceover narration always struck me as gratuitous, but I think I’d blanked from my memory how every episode ends with basically a highlight reel – but mostly it made me feel very fond. I love teen movies and shows, but rarely because they remind me of my own teenagehood outside of the broad emotional strokes. The Inbetweeners feels like a show about kids that I grew up with: there’s a relentless ordinariness to it, and a disgustingness that feels, watching it as an adult, surprisingly, sweetly innocent.

The Inbetweeners follows four teenage boys in some anonymous small suburban town in England: Will, a posh ex-private school wanker moved to a comprehensive after his parents’ divorce; Simon, who initially seems like “the normal one” but quickly reveals himself as probably the most fucked-up of all, short-tempered, needy and incredibly sensitive; Neil, who is basically a complete idiot but probably the most together of the four when it comes to actually interacting with other people; and Jay, self-appointed sex expert and pathological liar. They want to get drunk, and pull a girl, but mostly just hang around, talking shite.

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Fleabag, Can’t Cope Won’t Cope and The Case for Self-Denial

Fleabag, Can’t Cope Won’t Cope and The Case for Self-Denial

Here’s a terrible advertisement for Diet Coke:

 

There are so many things I hate about this ad. That it contains the term “ath-leisure.” The background music. That it’s painfully obviously a line-for-line recreation of an American ad, because no English person would use the phrase “yurt it up” (the American version, for the record, was directed by my old nemesis, Paul Feig, for some reason).

But the thing I hate the most about it is “If you want a Diet Coke, have a Diet Coke.” Life is short, is the ad’s premise, so do more things you want to do: live in a yurt (whatever that is), run a marathon (though it backhandedly suggests you probably shouldn’t bother), drink a Diet Coke. But drinking a Diet Coke isn’t like living in a yurt or running a marathon, because Diet Coke is bad for you. The actress in the ad says that it makes her feel good, which it might for a moment. And according to the ad, that doesn’t just mean it’s okay and you shouldn’t feel bad about it, but that you actively should drink Diet Coke, whenever the thought occurs to you.

The thing I hate the most is that the ad treats all wants as basically the same. That pursuing all those wants amounts to making the most of life, or being true to yourself.

But, as Kurt Vonnegut would say, that thought has a brother: that if you do not pursue all your undifferentiated wants, you aren’t making the most of life, and you are not your authentic self.

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Art and the Artist

Art and the Artist

If you read a lot of pop criticism and entertainment journalism, you’ll be a familiar with a debate about “separating the art from the artist” or some similar turn of phrase. This is a very old debate, but it’s come to occupy ever more space in discussions about art, especially popular art, in recent years. The main driving force behind its increasing prominence has been the proliferation of online publications covering entertainment news and producing reviews and criticism over the last ten or so years. Such platforms are making more information and commentary on the entertainment industry and more opinions about art available to more people than ever before. Over the years, plenty of people who make art have been exposed for doing bad things, and so naturally the issue of how we should relate to art made by bad people has come up pretty regularly in these publications.

But that was before Jodi Kantor and Megan Twohey (for the New York Times) and Ronan Farrow (for the New Yorker) exposed Hollywood mega-producer Harvey Weinstein as a serial sexual predator. I don’t know why this one was the tipping point, but in the months since, dozens of other sexual predators working in the entertainment industry, in news media and in sports have been similarly exposed. In fact, there’s been a seemingly endless wave of revelations about powerful public figures – almost exclusively men, to no great shock – who have abused their power in order to sexually harass and assault other people, including minors.

What used to be a largely seasonal phenomenon of finding out a celebrity was a bad person, getting bombarded with thinkpieces about it and then forgetting about it when something else came along to make you anxious about the world has now become an apparently permanent state of revelation.

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The World is Going to Crack Wide Open

The World is Going to Crack Wide Open

“HALT AND CATCH FIRE (HCF): An early computer command that sent the machine into a race condition, forcing all instructions to compete for superiority at once. Control of the computer could not be regained.”

Halt and Catch Fire has never been subtle about its view of capitalism. The very first thing that appears on screen at the start of the pilot is a definition of its title, worded to produce a clear double meaning: this is a story about how endless competition causes a system to implode.

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