like mann's public enemies and to's life without principle, a clever use of the gangster melodrama to highlight the amorality of capitalist modernization by contrasting it with the fraternal obligations of the criminal underworld. i've seen it called a greatest hits, but it seems more of a synthesized reconfiguration of old variables into new bangers a la daft punk's alive 2007. haven't seen the entire jia filmography so i missed some callbacks but was reminded of how platform chronicled the…
the everyone who bought one of the 30k copies of the velvet underground started a band thing but about tinashe’s impact on the gaga snl performance
it’s no sandy wexler, but lady gaga punches a cop after performing at a drag bar so there’s that.
did I tear up during the first performance of the shallows? absolutely
was it dice clay’s most tender work since mourning the koala in ford fairlane? also yes
anyways, keep an eye out for my piece in tablet mag about how gaga’s monologue about having a big nose is cultural appropriation
thoughts i had while mistakenly going to see this high:
So there IS a mr love witch
“not the bees” (witchhouse rmx)
my vvife: the road warrior
there's a kenny rogers roasters in the pacific northwest?
wow reagan in a blacklight poster still looks and sounds like reagan
a vhs tape...but a bong
the dancing chicken from stroszek but it's nic cage being brought on set to do the "nic cage thing"
An interview quote surfaced on twitter this morning* that Anderson intended Alma to be a specifically Jewish refugee, as hinted by the scene in which she reacts with disgust to one character profiting off of selling visas to Jews during wartime. It speaks to something I originally thought of as one the film's strengths, mainly that Anderson gave up his failed attempts at saying something big in TWWB or the Master and realized he's much better at floating signifiers an…