The Daily

Posts Tagged ‘television’

Ownership Culture

May 4, 2016 | by

The Real Housewives, owning it—or at least dwelling in it.

Those of you who were spared the three chapters of the saga that was The Real Housewives of Beverly Hills “Reunion” missed something. Well, you missed a lot of things—mainly people accusing Lisa Vanderpump of various machinations involving the rumors of Yolanda Foster having Munchausen syndrome. The last installment centered primarily on whether or not Lisa had said, on the way out of somewhere, “Why don’t you involve Kyle?” and whether this constituted throwing Kyle under the bus, and how long Kyle had known this information, and what it meant if it was true, and if Kyle is Lisa Vanderpump’s toady, and whether or not Lisa Vanderpump has a hard time apologizing, generally. It would be a good exercise in language proficiency to have to translate this entire situation to the proverbial extraterrestrial. Even by the standards of the Real Housewives franchise it was petty to the point of inscrutability—idiotic and exhausting. It combined the moral rectitude of the Weimar Republic with the elegant good taste of a Trump building. Read More »

Liftoff Is Like a Fingerprint

February 18, 2016 | by

Aaron Gordon’s best slam dunk in the whole world, ever.

Aaron Gordon’s best slam dunk in the whole world, ever. Via Twitter.

This past weekend, Toronto became the center of the NBA universe as the NBA All-Star Weekend, with its various constellate events—the celebrity game, the skills competition, the three-point contest, slam-dunk contest, and other haute nouveauté—once again went down with its familiar mix of gauche, sizzle, and panache. I was asked more times than I can remember if I’d be in Toronto for the festivities but I maintained my proud record of never having attended an All-Star game. That won’t change anytime soon.

I get All-Star Weekend, really I do. I understand where it’s coming from and how it can be considered exciting. The best basketball talent in the world all gathered in one place for one weekend and something with something that seems somewhat like a game of basketball eventually happening in the end. I get it. Give me Westbrook, Curry, Thompson, Leonard and Green on the court at the same time. Give me Wall, Wade, George, Anthony, and James on the court at the same time. I get it. I want to anoint my soul with it. But it’s simply not my thing. I watch out of habit far more than out of awe. And at some point I realized that to be the objective of it anyway: to be accounted for more than having a profound feeling. It is what it is. And I can live with that. Read More »

Classic Dionysian Shit: An Interview with Richard Hell

December 8, 2015 | by

© Rebecca Smeyne

“Without a doubt, the single most influential thing I’ve done was my haircut,” Richard Hell writes in Massive Pissed Love, his new collection of nonfiction. It’s a characteristically self-deprecating statement from a writer who started as one of the main sparks in New York City’s 1970s punk-rock movement. Hell has authored novels, books of poetry, and an acclaimed memoir—but his most lasting achievement, in his view, is that groundbreaking haircut.

Maybe it’s a strangely fitting legacy: Hell has been fascinated with hair since childhood. “Because it’s dead but personal and because I’m moved by the futility of its attempts to warm and protect the places where it grows,” as he put it in 2013’s I Dreamed I Was a Very Clean Tramp. Rachel Kushner’s review of that memoir lauded Hell’s commitment “to the unvarnished truth, about himself and others.” That honesty remains on display throughout Massive Pissed Love; at one point, he imagines asking Kim Gordon of Sonic Youth whether her hair is real or if she scalped an angel.

The collection is divided into three sections: long-form essays (“Massive”), angry takedowns (“Pissed”), and adoring panegyrics (“Love”). Hell, a prolific essayist and critic, has published everywhere: in Bookforum, the New York Times Book Review, GQ, and in the cunnilingus-themed issue of Ecstatic Peace Poetry Journal, where he envisions eating out a deer whose “vagina would taste like warm folds of liquefying bubblegum and then like lobster meat drenched in lemon butter sauce.” Elsewhere, he writes on culture, politics, emotions, spirituality—anything he wants, really.

I first spoke to Hell for an essay I was working on about Michel Houellebecq and the nineteenth-century French writer Joris-Karl Huysmans, who figures prominently in Houellebecq’s latest novel, Submission. The discussion below took place soon after Houellebecq, who did a literary event alongside Hell in Spain in 2008, wrote a widely discussed op-ed for the Times. (Antonin Baudry, The Paris Review’s newly appointed Paris editor, comments on it here.) Houellebecq’s call for France to be run without political parties or a government, through direct democracy, seemed like a fittingly punk-rock place to begin the conversation. Read More »

And So Say All of Us

September 30, 2015 | by

A birthday from Mr. Belvedere, one of TV’s many disquieting alternate universes.

Television Land (not to be confused with the ever-sadder TV Land) is a foreign country: they do things differently there. The residents get very excited about fast food. Dads are childish buffoons and moms are smug scolds. All kids are bratty smart alecks. Police witnesses are strangely insolent and really busy. And everyone who uses online dating services is beautiful, chic, and well adjusted. But perhaps the strangest thing about this parallel universe is that in lieu of “Happy Birthday,” they sing “For He’s a Jolly Good Fellow.” Read More »

The Disasterpiece

September 17, 2015 | by

The saga of Scary Lucy.

lucyfinal

Illustration by Ellis Rosen.

In a no-frills park in Celoron, New York, where Lucille Ball grew up, there stands a four-hundred-pound bronze statue with a puss that’s been likened to Darth Vader, the demonic doll Chuckie, and Kim Hunter in her Planet of the Apes makeup. Scary Lucy, as the figure has been dubbed, bears no great resemblance to the comedienne who once hooked America with hennaed poodle bangs and balletic slapstick.

In early April 2015, some six years after Scary Lucy was installed, the local paper ran a story about the village seeking funds to improve or otherwise replace the statue. The A.V. Club picked up the development the next day, and nationwide coverage followed, from the New York Times (“NY Village Wants to Give Its Lucille Ball Statue a Makeover”) to Gawker (“Drunk, Leering Lucille Ball Statue Menaces Small Village”) to NPR (“In New York, A Sculptor’s Got Some S’plaining To Do”).

It was funny. But it was more than that. The black magic of statuary is in how the fact, myth, and memory associated with its flesh-and-blood celebrity can get canned inside it. Spark that with controversy, and presto: Lucille Ball’s Bronze Age. Read More »

Barthes Foresees the Rise of Trump, and Other News

September 15, 2015 | by

Barthes, looking into the hideous future of electoral politics.

  • The Internet is awash in devastating, graphic personal essays—young writers are encouraged, maybe more than ever, to monetize and sensationalize their grisliest experiences. So … now what? “The Internet’s confessional impulse has been fully codified. Every site seems to have a first-person vertical … But for all the different house styles these pieces accommodate, it’s striking how many of them read like reverse-engineered headlines, buzzy premises fleshed out with the gritty details of firsthand experience … This is a key problem with the new first-person economy: the way it incentivizes knee-jerk, ideally topical self-exposure, the hot take’s more intimate sibling.”
  • The Joan Didion that people adore these days is the Didion of The White Album and Slouching Towards Bethlehem, not the Didion of Democracy—but that novel is remarkable, too, and to read it is to enter a fecund and too often neglected phase of her career: “There’s something in Democracy that you’ll find little of in Didion’s nonfiction: It’s the book in which she does the most thinking about a formative subject in her life, the Vietnam War, yet it’s a book that rarely enters into current discussions of her work … A more useful understanding would recognize the later nonfiction as an extension and amplification of the early nonfiction’s achievements. It would also see the novels as vital continuations of the same project, workings out of problems in style and sense painted on blank canvases. Such an understanding would turn Democracy from a bookshelf ornament to a central work about Vietnam, the other historical hinge in Didion’s career.”
  • Roland Barthes wrote well about TV, and professional wrestling in particular—meaning he was also, thirty-five years ahead of time, writing well about Donald Trump’s bid for the presidency. “The key to generating passion, Barthes notes, is to position yourself to deliver justice against evil forces by whatever means necessary … But why can’t voters see that what Trump offers is just an act? As Barthes illustrates, that’s asking the wrong question. ‘It is obvious that at such a pitch, it no longer matters whether the passion is genuine or not. What the public wants is the image of passion, not passion itself. There is no more a problem of truth in wrestling than in the theater.’”
  • Today in fact-checking: the most error-prone movie of the year thus far is Jurassic World, which boasts an impressive nineteen continuity blunders, plot holes, and factual mistakes. “Errors in Jurassic World reportedly include a mobile phone that appears to magically fix itself … and the ability to start up an abandoned Jeep that has been parked, fully exposed to the elements, on a tropical island for twenty years … The all-time record is held by 1979’s Apocalypse Now, with a whopping 561 mistakes.”
  • The typographer Adrian Frutiger, who designed the font for London’s street signs, has died at eighty-seven. “I learned to understand that beauty and readability—and up to a certain point, banality—are close bedfellows,” Frutiger said. “The best typeface is the one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to the understanding of the reader.”