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A.R. Moxon Profile picture
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Feb 6 • 11 tweets • 3 min read
Nerdiest thing I've done this decade (and that's saying something) is the ongoing close reading of LOST I've always wanted to get to.

If you always wanted to know what the hell was happening, you might enjoy this explanation.

Part 1 unpacks main themes.

getrevue.co/profile/julius…
Part 2 explores and defines the main conflict buried at the heart of the story.

getrevue.co/profile/julius…
Part 3 further unpacks the nature of the two mysterious entities whose conflict provides the unseen context for all the drama of the main story. getrevue.co/profile/julius…
Part 4 begins a very close look at the single episode containing almost all the information about the two men who come to be inhabited by those entities, and how they came to be so inhabited ... getrevue.co/profile/julius…
... and Part 5 completes the look at that episode, then draws some formative conclusions about LOST's buried understory.
getrevue.co/profile/julius…
The next parts will look at the island itself—what, why, and *when* it is—and what it all means to the main story.

Finally, armed with this context, I hope to explore the main story itself.

It's a weird obsessive thing to do but it's also a lot of fun. So now you know about it.
This is very odd to me, but quite literally many people are saying so.

What my blog series presupposes is ... he did.
My experience of watching the series a 2nd time was a growing admiration for just how coherent the narrative Lindelof had created was, even from the beginning, and how well even the much-derided sixth season holds to it—along with a growing understanding why it was misunderstood.
The main reason I'm doing this is my fascination with story. Some people love to take apart engines. I love to take apart stories. This is one of the damndest stories I've ever seen, and I love it.

If you want to see how I approach story, this is also probably for you.
Next one is February 21. My newsletter goes right to subscribers email inboxes on Monday mornings. Planning on a LOST post every other week.

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More from @JuliusGoat

A.R. Moxon Profile picture
Feb 8
In BREAKFAST AT TIFFANY’S, Mickey Rooney played I. Y. Yunioshi, dressed up in buck teeth and a cartoon squint, a grotesque caricature of a Japanese person.

So I suppose in that sense “you wouldn’t be able” to make BREAKFAST AT TIFFANY’S today.

Which seems somehow preferable.
Now: what interests me is what it means to say *you can’t* make BREAKFAST AT TIFFANY’S these days.

It doesn’t mean you CAN’T. Unlike teaching, say,The Bluest Eye to Texas schoolchildren, there exist no laws to prevent Will Ferrell from putting in the teeth and playing Yunioshi.
So actually you *can* make BREAKFAST AT TIFFANY’S today, I.Y. Yunioshi and all, and throw in Long Duc Dong if you want.

You can if you want wear blackface and dance around in white gloves, like Fred Astaire in SWING TIME, if you want to.

If you want to.
Read 20 tweets
A.R. Moxon Profile picture
Feb 7
I was just watching Charlie Chaplin's THE GOLD RUSH and wow, you could just never make that movie today.
I was just watching Orson Welles CITIZEN KANE and realizing, you would never be allowed to make that movie today.
I was just watching Tarkovsky's 4 hour black and white contemplative masterpiece ANDRE RUBLEV and realizing my god they would never dare make that today.
Read 4 tweets
A.R. Moxon Profile picture
Feb 7
You know what I never see from these "you couldn't make x movie today" people?

Them watching movies by a still too small but ever-growing group of hugely talented Black auteurs finally given a chance to direct and realizing "we refused to let these movie be made back then."
It it true you "couldn't make" PULP FICTION today? I suppose. I think what's meant is maybe we *wouldn't,* for a variety of reasons.

But we *wouldn't* have made MOONLIGHT back then.

And we still have PULP FICTION, safe and sound. Easy to watch.

So ... have we lost? Or gained?
Now you might think that Nichols isn't talking about QT's racial slurs, but rather some other aspect of the film.

Nope, he's talking about the slurs, which to him are integral to the work. Image
Read 15 tweets
A.R. Moxon Profile picture
Feb 6
Comedians didn’t sign up to be our heroes, but they also didn’t sign up for some strange immunity from criticism.
I think it’s healthy to criticize toxicity, misinformation, hate speech, abuse, and outright crimes, and I don’t see why being funny should provide any special exemption from that, nor why those standards should prevent anyone from being funny.
Anyone can say anything they want.

If you’re funny, people will laugh.

If what you say hurts people, people will understand you to be the kind of person who says hurtful things for laughs.

If you keep doing it, people will understand you as someone who doesn’t give a shit.
Read 6 tweets
A.R. Moxon Profile picture
Feb 6
I don't want to brag, but I solve most Wordles in the allotted six guesses.
Sometimes in five guesses, sometimes in only four, but count on it, 95% of the time, I'll be there every time.

It's not a big deal for me. It goes with the territory when you are a "man of letters."
When I "flip five green" (my term for a solve) I don't dance or anything. I act like I've been there before. Some people make a big celebration. It's just part of my life, no big deal. Maybe just a little nod at the referee and that's it.
Read 9 tweets
A.R. Moxon Profile picture
Jan 31
PROFANITY AND OBSCENITY

Those who desire obscenity also engage in profanity, of course. They do so for many reasons, but one of the strategic ones is to muddy the difference between fractious language and deliberate harm and abuse.

getrevue.co/profile/julius…
Perhaps we’d do well to make a contrast between “profanity” and “obscenity."
Let me suggest “profanity” as language that breaks agreed social rules of propriety. Some people call them “curses.” It’s fractious language.
Read 15 tweets

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