@Darren_Mooney's Threads
"Bad taste is real taste, of course, and good taste is the residue of someone else’s privilege."
An interesting argument from Chuck Klosterman on criticism. I'm not *entirely* convinced by it, but there is some truth to it.
theatlantic.com/entertainment/…
An interesting argument from Chuck Klosterman on criticism. I'm not *entirely* convinced by it, but there is some truth to it.
theatlantic.com/entertainment/…
Most notably, there is value - and passion - in dissenting opinions, and that there's no meaningful distinction in worth between high and low culture; just aesthetics.
I absolutely think my love of, say, "Demolition Man" has precisely as much value as my love of "The Godfather."
I absolutely think my love of, say, "Demolition Man" has precisely as much value as my love of "The Godfather."
I mean, I *hope* this Twitter feed stands as testament to that ideal.
It's as likely to devote as much attention to the work of Shaggy as it is of Krzysztof Kieślowski. To devote as much energy to something like "Annabelle Comes Home" as to "The Favourite."
It's as likely to devote as much attention to the work of Shaggy as it is of Krzysztof Kieślowski. To devote as much energy to something like "Annabelle Comes Home" as to "The Favourite."
#NowWatching “X-Men.”
A film franchise with a complicated, but surprisingly important legacy.
Although there were obviously superhero films before, and films like “Blade” are often overlooked, “X-Men” is ground zero for the modern superhero boom.
A film franchise with a complicated, but surprisingly important legacy.
Although there were obviously superhero films before, and films like “Blade” are often overlooked, “X-Men” is ground zero for the modern superhero boom.
Of course, it is, quite rightly, impossible to talk about the series without acknowledging that Bryan Singer is a well-documented sexual predator.
This informs the films’ legacy, although it seems under-discussed compared to the emergence of the MCU.
theatlantic.com/magazine/archi…
This informs the films’ legacy, although it seems under-discussed compared to the emergence of the MCU.
theatlantic.com/magazine/archi…
The cornerstone of the modern American popular landscape was laid by a serial sexual predator. Built to a blueprint he laid.
While it seems like the cultural mood has shifted on the “X-Men” films, it’s strange to me that this isn’t the catalyst.
theatlantic.com/entertainment/…
While it seems like the cultural mood has shifted on the “X-Men” films, it’s strange to me that this isn’t the catalyst.
theatlantic.com/entertainment/…
I’ve found myself a little frustrated by the tone of the discourse around “The Bells.”
Not criticisms of the execution, but criticisms of the idea.
Which is something that I find myself tired of in modern discussion of pop culture.
Not fear of execution, but fear of ideas.
Not criticisms of the execution, but criticisms of the idea.
Which is something that I find myself tired of in modern discussion of pop culture.
Not fear of execution, but fear of ideas.
A lot of criticism in pop culture is rooted in the implication that there are some things creators shouldn’t do; not things that they should do carefully, or well.
But just some ideas that are out of bounds. And we’re not talking about politics; we’re talking about characters.
But just some ideas that are out of bounds. And we’re not talking about politics; we’re talking about characters.
One of the most dazzling and confusing pieces of discourse around #GameOfThrones is the idea that Jaime Lannister could ever be anything other than a privileged and handsome dirtbag.
theringer.com/game-of-throne…
theringer.com/game-of-throne…
One of the strongest recurring trends of "Game of Thrones" is that Jaime *wants* to be the hero of a narrative, but without actually putting in the work to be heroic.
He occasionally comes close, but he'll always relapse. Because Jaime's self-image is always his primary concern.
He occasionally comes close, but he'll always relapse. Because Jaime's self-image is always his primary concern.
This is why I'm always surprised when the internet is horrified that Jaime does a stupid/bad/grotesque thing.
Because Jaime's consistently more concerned with presenting himself as a good man than *being* one.
Because Jaime's consistently more concerned with presenting himself as a good man than *being* one.
Watching the second season of “Star Trek: Discovery.”
I much preferred the first season’s skepticism of Lorca-as-a-stand-in-for-the-popular-memory-of-Kirk to the second season’s hero worship of Pike-as-a-stand-in-for... eh, Pike.
I much preferred the first season’s skepticism of Lorca-as-a-stand-in-for-the-popular-memory-of-Kirk to the second season’s hero worship of Pike-as-a-stand-in-for... eh, Pike.
That said, I’m reminded of my fondness for the “Star Trek: Discovery” primary cast.
Despite all the criticisms of the casting and characterisation in the first season, I feel like the ensemble is surprisingly well-formed.
Despite all the criticisms of the casting and characterisation in the first season, I feel like the ensemble is surprisingly well-formed.
As with the first season, and the “Short Treks”, there’s a thrill in watching “Star Trek: Discovery” try to adapt “Star Trek” storytelling for modern television narrative frameworks.
In particular, “Brother” is a modern season premiere, of the kind “Star Trek” has rarely done.
In particular, “Brother” is a modern season premiere, of the kind “Star Trek” has rarely done.
Still on a bit of a nostalgic #DoctorWho kick, in particular for the Moffat Era.
So now watching “Dark Water”, the first part of the two-part eighth season finale.
So now watching “Dark Water”, the first part of the two-part eighth season finale.
“It's a terrible thing. Just a terrible, terrible thing.”
“It wasn't terrible.”
“Clara?”
“It was boring.”
“Boring?”
“It was ordinary.”
Clara is a fascinating companion, in large part because she’s essentially riffing on the sense of entitlement that Rose felt.
“It wasn't terrible.”
“Clara?”
“It was boring.”
“Boring?”
“It was ordinary.”
Clara is a fascinating companion, in large part because she’s essentially riffing on the sense of entitlement that Rose felt.
“He deserved better. And so did you.”
“I don't deserve anything. Nobody deserves anything.”
“But I am owed better. I am owed.”
Clara is selfish and self-centred. But she’s aware of that, and the show is aware of that.
These traits are explored as developed. They make her human.
“I don't deserve anything. Nobody deserves anything.”
“But I am owed better. I am owed.”
Clara is selfish and self-centred. But she’s aware of that, and the show is aware of that.
These traits are explored as developed. They make her human.
With the upcoming Neil-Gaiman-orchestrated "Dreaming" line at DC comics, I thought it might be time to revisit Neil Gaiman's wonderful "Sandman."
(Sandman: Overture #1.)
(Sandman: Overture #1.)
It's funny, I was just thinking today about the late sixties paranoia about cultural psychosis and insanity.
Modern pop culture is similarly fixated on the idea of insanity rippling through the popular unconscious.
"Legion", "Westworld", etc.
(Sandman: Overture #2.)
Modern pop culture is similarly fixated on the idea of insanity rippling through the popular unconscious.
"Legion", "Westworld", etc.
(Sandman: Overture #2.)
It's almost surprising that it took as long as it did for Gaiman to write for "Doctor Who."
Gaiman's abstract/symbolic cosmos is very much in keeping with Russell T. Davies' approach to concepts like "the Time War."
(Sandman: Overture #2.)
Gaiman's abstract/symbolic cosmos is very much in keeping with Russell T. Davies' approach to concepts like "the Time War."
(Sandman: Overture #2.)
