Simply posting this song because it’s catchy and percussive and I love it, even if it’s mostly nonsense.
METROPOLITAN (1990)
I avoided METROPOLITAN for quite some time. I watched writer/director Whit Stillman’s follow-up THE LAST DAYS OF DISCO shortly after it was released on DVD and thought: his candor and approach is simply not for me.
I eventually got around to METROPOLITAN more than a handful of years later — before he completed LOVE & FRIENDSHIP, an adaptation of Jane Austen’s posthumous novel PERSUASION — and did appreciate it but didn’t fall in love with it the way others had. I could feel the Woody Allen influence and had a hard time reckoning with that. (I admit, ANNIE HALL still impresses and MANHATTAN looks gorgeous.)
However, the other night I fell asleep watching Turner Classic Movies (TCM), which happens more often than I’d like to admit, and woke up about twenty minutes into METROPOLITAN and it suddenly snapped into focus for me: yes, the Allen influence is there, as it is a film composed of vignettes about upper-class wanna-be Manhattan intellectuals who spend most of their time talking instead of taking action, but the real influence is Jane Austen and I just never realized it, despite the fact that Austen is referenced more than a few times in the film, especially PERSUASION.
An aside: I came along to Austen late in life, after I had first watched METROPOLITAN. While I wish it had been sooner, I’m not sure I would have enjoyed her novels as much as I did when I first read them as someone older. I haven’t read everything by her; I have a copy of LADY SUSAN and PERSUASION in my daunting to-read stack. I was at a wedding last year and lit up when someone at our table started talking about Austen and — to the visible frustration of her date — peppered her with Austen questions, including whether I should read PERSUASION first or watch LOVE & FRIENDSHIP. (She essentially responded: “They’re both great! There’s no wrong way to enjoy them!”)
METROPOLITAN is comprised of a number of chapters in rich socialites lives, mostly viewed from the point-of-view of lower-middle class nerd Tom Townsend (Edward Clements). Well-to-do Nick Smith (Chris Eigeman, who you may recognize from GILMORE GIRLS) takes a shining to him and guides him into his inner social circle, teaching him how to present as one of them. One of the women in the group, Audrey (Carolyn Farina), develops a crush on him but is too meek to do anything about it and watches as Tom pines for Serena (Ellia Thompson) while Serena is involved with an overly-confident, pony-tailed man named Rick (Will Kempe).
In other words: it’s all about repressed emotions and manners and presentation and social navigation, which Austen is very well-known for.
The primary allure here is the dialogue and interplay of characters, and the performers step up perfectly. There’s a rapport and tension between all of them that feels absolutely engaging. I’ll note that it’s shame that, apart from Eigeman, few of them have appeared in many other works.
For Stillman’s first film, he has a remarkable command over pacing and editing. While scenes often end abruptly via a fade-out, it manages to feel naturalistic. Additionally, the blocking is exceptionally handled, as well as John Thomas’s framing. Everyone is exquisitely laid out in ways that speak magnitudes of their character and conflicts, and Mary Jane Fort’s costume design fits perfectly for this world. (I’ll note that it was her first endeavor, but unlike most of the actors, she’s had a long career fashioning for film and TV.)
I will admit that the score is often overly-repetitive, but suits the film.
This is one of the fantastic facets for me as to having TCM constantly running in the background: it’s consistently about revisiting films, sometimes as comfort, but also often for re-evaluation, and I’m glad I did so for METROPOLITAN when it’s doubtful I would have otherwise.
“They’re doomed; they’re bourgeois; and in love. They’re all so … Metropolitan.”
KILL BILL VOL. 1 (2003)
There are a lot of memorable moments in Tarantino’s KILL BILL, but the most memorable for me is:
“Wiggle your big toe.”
Yes. I know Tarantino definitely has a foot fetish and isn’t necessarily the greatest dude. No shit. It’s not subtle. Also, I realize it’s probably a riff on a film I’m unaware of — I can’t watch ’em all, folks!
However, I love that he features a grounding technique so prevalently in an action film, and it’s something I think about constantly, despite definitely not having a foot fetish. (No shame in that as long as there is consent and understanding: I’m just stating!)
“Wiggle your big toe.”
Some days I just feel mentally incapacitated. I can barely summon the strength to even move in bed, much less get out of bed.
“Wiggle your big toe.”
Thinking of The Bride motivating herself stupidly helps. That struggle, the pain she’s gone through, the trauma. I can’t help but to relate to it, even if I haven’t lived through that exact sort of pain.
“Wiggle your big toe.”
All you need to do is convince yourself to commit to one small act, and then another, and another, and before you know it, you’re presenting as a functional adult for as long as you need to.
“Wiggle your big toe.”
I realize I’ve been spending a lot of time — perhaps too much time — writing about media as therapeutic means and I don’t love that about myself, but it really fucking helps; to watch, to realize what is a salve, a personal balm.
“Wiggle your big toe.”
DOOM PATROL S1 (2019)
I ignored the DCU TV efforts when they first launched. I had no interest in signing up for yet-another streaming service, much less one solely focused on rehashing works like DOOM PATROL that I had already read and loved and didn’t want a watered down distillation.
“What is this place?”
Now that all of the DCU TV efforts have been merged into Warner Bros/HBO, it’s far easier to watch them, and holy fucking shit, they’re all amazing, all swing-for-the-fences efforts that somehow have managed to chug along for the entirety of the pandemic.
“It’s a safe place for you to heal. You, and others like you.”
I should have known better. DC doesn’t micromanage their TV creatives the way Marvel does. And DOOM PATROL is amazingly devastating.
Unlike Harley Quinn, I’ve actually been very familiar with DOOM PATROL for years. I have read the entire Morrison run twice over. Shared it with my wife. While I probably should have read it when the original issues were rolling out while I worked in a comic book store, reading them in my late twenties was good enough.
“DON’T TOUCH ME!”
Unsurprisingly, as someone who has been diagnosed as having anxiety, hypomania/bi-polar/whatnot and PTSD (yeah, I’m a fucking shitshow), ‘Crazy Jane’ with her 64 mindsets is the character I identify most with. Diane Guerrero portrays that sort of mental whiplash perfectly.
“Ooooh, please touch me…”
(I’ll note that I have no idea how many appleboxes they have to use to block scenes with Diane Guerrero, but it has to be more than a few. However, her performance has a ferocity that measures her above every one of her co-stars.)
This show is immaculately cast and paced and costumed. April Bowlby is perfection as aloof and fallen Hollywood star Rita Farr, and the extremely form-fitting attire is an amazing narrative nod. Brendan Fraiser’s voice-over work for robot Cliff Steele is astoundingly vulnerable, and the physical effects for him are so tactile. Matt Bomer’s queer confliction as Larry Trainor +1 is so well-penned.
I have no idea how they talked Timothy Dalton into this, but he’s the best Chief you could ask for, and the house they’re shooting in? I want to go to there. It’s all rich Victorian wood and feels old and lived in and haunted. (I actually think I have been, as it looks like one of the WB lot houses, but they did a lot of great work with it!) Also: CIint Mansell provides the score! Alan Tudyk is Mr. Nowhere!
Everyone involved knew what they needed to do, and they did it to perfection, even if they were doing it in service of a bunch of misfits unfit for society.
I am shocked at how good it is, although it is not a subtle show. This isn’t ‘just good’ for a comics adaptation, or ‘just good’ for a genre TV series — it’s a great show, full-stop.
It’s the first show to remind me of SENSE8 in a long time, despite the fact that it is a pretty sexless show. It’s all about misfits trying to come to terms with their realizations and reckoning with them, and we do not have enough of that.
“Do you remember what it felt like? […] To be normal?”
THE LAST OF US (2023)
Content Warning
This post contains spoilers for THE LAST OF US S1, the video game THE LAST OF US, and mentions of queer death.
Upon watching the season finale, I exclaimed to my wife: “I can’t wait to quit this show!”
See, I’ve played the game. I know where this story goes — although perhaps they’ll tune it, but I doubt it considering the adaptational fidelity they’ve taken on. (And I admit, goddamn, they did a brilliant job with that!)
The game, but especially the show, is just wall-to-wall trauma and I hate it. I’ve said it before, but I’m very over nihilistic media, and this is abso-fucking-lutely bleak and, apart from the LEFT BEHIND ep, I really wanted nothing to do with it.
I told my wife: I’m watching for LEFT BEHIND and I’m not even sure it will show up this season. Then it aired, and I absolutely glowed.
While neither Bella Ramsay or Pedro Pascal resemble their gaming avatars, they absolutely inhabit the roles. There’s not a single casting misstep here. Every character is amazingly portrayed to an astounding degree. It was utterly delightful to see Anna Torv (FRINGE) back on the small screen again. And the production design? They understood the assignment and A+ to all of them.
When LEFT BEHIND did pop up, as stated: I fucking glowed. I’ve noted this in prior posts, but more and more as I get older, I just want to see people be happy, and LEFT BEHIND is all about giving Ellie a joyful bit of reminiscence about a sliver of queer joy in her life. I realize that narratively, that often isn’t the most enthralling thing, although TALES OF THE CITY threaded that needle quite well.
I will note: I was immensely frustrated by the third ep. Was it a sweet, well-handled episode? Yes, yes it was. However — and I’m trying to not step up on a soapbox here, but it’s hard — it felt to me like yet another display of patriarchal bullshit:
“Oh, the male queers get to have a long, serene life (until it isn’t), but Ellie essentially has to kill her queer best friend not even an hour after her own personal queer awakening? That is some fucking horseshit right there.”
From the moment I moved to Chicago, I’ve always lived in queer spaces because they felt safe; they felt welcoming. (I’ll note that I do not identify as queer, but queer-adjacent. I’m just a weirdo, a misfit who has no real place, but this is as good as it gets.) [UPDATE: Since this post, I have come out as queer. It’s both a long and short story, but boring, so I’ll leave it at that.] And that’s a lot of what THE LAST OF US is about: aspiring to find a safe space and living normal, happy lives without feeling threatened.
However: I do keep having to move because these areas inevitably end up overrun by male toxicity, which has sucked. We currently live in what was formerly known as ‘Girlstown’ and it used to have one of the oldest lesbian bars, and it is the home of the show WORK IN PROGRESS, but thanks to capitalism it has mostly become ‘elder Boystown’ and it is frustrating because dudes — even queer dudes who have been inevitably been bullied in the past — apparently love to bully folks, even older weirdos like me.
It is a finely crafted show, but fuck. I’m so tired of miserabilia. I’m so sick of protagonists being pursued and having to run, and I’m especially aware of this very specific type of miserabilia. I first wrote: “It’s not you show, it’s me” before realizing that it shouldn’t be on me. People deserve better than this, escaping into fight-or-flight scenarios, real or imagined. People deserve comfort, and it’s disheartening that this is what culturally lights us up, even if it is representative of the constant fears of a fragmented society.
CUNK ON EARTH (2022)
(Netflix) Back when I was a pre-teen, I had a casual friend who absolutely knew how to make me laugh. The jokes were puerile — again, I was a youth and he was slightly older — but he told them in such a rapid-fire way that within a few minutes I was doubled-over in laughter, absolutely rolling on the ground, covered in dirt.
Again, they weren’t good jokes, but they endlessly built up, which actually served to be more memorable in the long run. (One tries to forget that too much laughter literally inflicts pain — which causes a perverse feedback loop for me — but you don’t. Not really.)
Over the years, I’ve found that sort of comedy to be more of an enigma than anything else. THE JERK accomplished it, for sure — one of the greatest times of my life was seeing it at Los Angeles’ TCL and being tongue-tied meeting Carl Reiner. ARRESTED DEVELOPMENT, well, the first two seasons at least. It’s more of a vaudevillian sense of humor — make ‘em laugh, make ‘em laugh, make ‘em laugh! (to quote SINGING IN THE RAIN) — but when that work is firing on all cylinders, it’s like nothing else. To be crass: it culminates to a mind-blowing comedic orgasm that you shakily walk away from.
And now we have CUNK ON EARTH, the latest from Charlie Brooker (BRASS EYE, and oh, a little dystopian show named BLACK MIRROR you may have heard of.) It’s basically ‘What if we had an insta-dumb Lucy Worsley navigating us through history?’ While the character has been around in Brooker’s WEEKLY WIPE and also featured in CUNK ON BRITAIN, this was my first exposure to her.
I’ll note: this is a very specific show. If you love the humor of Kate Beaton, if you love nerdy historical and literary comedy, if you’ve even entertained the idea of watching BLACKADDER, this show will come close to pleasurely killing you. The joke ratio is off of the fucking charts. Not a single word or glance or motion is wasted and, even better, it all builds up to character lore. It’s amazing — if you’re a nerd.
I had to cut myself off after three episodes, at least for the time being. I love to laugh, but I was laughing far too much. That said, I can’t think of a better way to endorse a series than ‘I watched it until it made my sides ache and then bleed.’ It’s a brilliant work, if you’re into that sort of thing.
Also, as someone with several prominent moles, I love how she rocks hers.
SUCCESSION – “Conner’s Wedding” (2023)
CONTENT WARNING
This post contains major spoilers and sensitive details.
SUCCESSION follows in the footsteps of 80s privileged potential inheritors such as DALLAS and DYNASTY, but has a higher gloss and elevated interest in character dynamics that matches what you’d expect from an HBO series. It’s the story of four children of Logan Roy — basically a Hearst/Rupert Murdoch stand-in — trying to find their way in life, and appease their father. (Their mother left them far early in their formative years.)
There’s Kendall, the eldest brother who routinely relies on drugs and has repeatedly tried to kill himself; Shiv, the alpha woman who is perpetually unsatisified with her life, Conner, the half-brother who is way too over-confident, and lastly Ronan who has an extremely filthy mind and temperament but actually cares about people.
There’s a lot to talk about the series, but I want to focus solely on ‘Conner’s Wedding’, the third episode in the final season. So, if you aren’t caught up: I implore you to do so now.
The episode opens in a normal SUCCESSION way: a lot of corporate back-and-forth, as well as Kendall and Shiv giving Ronan grief about texting their dad (Logan, amazingly encapsulated by Brian Cox) as they’re trying to undermine him, because they’re pissed off about how he’s done the same to them all their lives.
Ronan visibly feels harmed by these accusations and tries to defend himself.
Then they get a call that Logan is undergoing cardiac issues on a plane, and it does not look good.
To be fair: this didn’t come out of nowhere. The first season set up his health issues pretty succinctly, but showrunner Jesse Armstrong played the long con and let the show go on long enough to allow that fact to sink away; it really wasn’t brought up again after the first season. Logan just seemed like an immortal force of nature!
We spend at least twenty minutes watching the siblings on the phone with Logan’s PR crew, and watch as someone persistently applies chest compressions — I’ll note that it seems a bit too long and too extreme, but I’ll accept it — and see how everyone handles the news.
I’ll note: my parents are still alive, but I’ve seen a lot of death in my day and, consequently, seen how family members handle the news.
This is a very exact display of the myriad of ways folks react to familial death.
It is a brutal episode, one of which I’ve already seen spoken of along the lines of BUFFY’s “The Body” (which I never want to rewatch). It’s not at all what I thought I’d deal with this Sunday night, and I was not prepared for. Truth-be-told, I spent most of the episode weeping. (Again, I’m over-emotional, so make of that what you will.)
However: it’s an exceptional climax to four seasons of build-up; not just with the death, but the character work. This is an astoundingly crafted character drama, and for it to pull the rug out from under the audience this soon in the final season is amazing.
This is an episode of TV that will be talked about for years to come, and is a grand accomplishment. They built up to this moment and then underplayed it, but it paid off ten-fold. It’s an amazing achievement, and one I’m happy that I watched the night of.
Lastly, while everyone is talking about Jeremy Strong as Kendell and Sarah Snook as Shiv, please direct your eyes to Kieran Culkin as Ronan, who is doing the bulk of the work in this episode, and frankly deserves an Emmy for all of it. His over-eager, over-sexed platitudes glossed over his humanity in the prior episodes, and we see all that armor fall away in this episode, and it is astounding work.
I recommend the following links, if you feel so inclined:
Today is the day.
JUNO REACTOR – “Return of the Pistolero” (2019)
This is a brilliant revisiting of a classic. It feels so crisp, so clean, so re-invented but also familiar! I can’t get enough of it, and I’m frankly surprised it exists, because JUNO REACTOR has provided so many brilliant “Pistolero” mixes already! But who am I to turn down a bit more self-indulgence?! Electro is all about its hedonism.
JUNO REACTOR – “Pistolero” [Mr. Black] (2013)
![JUNO REACTOR – “Pistolero” [Mr. Black] (2013)](https://mediaclature.com/wp-content/uploads/2023/04/juno-reactor-mr-black.jpg)
This might as well be called the “Coachella remix”. It’s all about hedonism, self-promotion, the worst parts of club culture, exploitation of others, and patched together by stock footage. It’s basically THE WHITE LOTUS: the music video — without repercussions, however, so many reverberations — but damn, it still bangs. Maybe listen to it while viewing other browser tabs.
Gotta admit: I absolutely love the person throwing fingers in a NASA outfit.
JUNO REACTOR – “Pistolero” [Sub6] (2012)
![JUNO REACTOR – “Pistolero” [Sub6] (2012)](https://mediaclature.com/wp-content/uploads/2023/03/juno-reactor-pistolero-sub6.jpg)
I have mentioned this in the past, but my body is stupidly physical. “I want to be thrown around.”
It’s hedonistic and I’m not proud of it but that’s what fucking techno is all about and this remix is the most physical of all of them. The beats just surround you and you succumb to them.
Oddly, I didn’t discover this mix until recently, but this fucking remix rips.