New Netflix series “Master of None” from Aziz Ansari. “Master of None” Twitter.
Whether you think it’s hilarious or just miss Tom Haverford, there’s no denying that Aziz Ansari’s “Master of None” is important. I haven’t been able to peruse social media without seeing swathes of people and media outlets posting about the show since its release on Netflix a little over a week ago. Among them was actress Diane Mizota, one of my Facebook friends and someone I interviewed for my grad school capstone project about Asian-Americans in Hollywood. She claimed she couldn’t get enough of the show and especially liked the second episode that addressed immigrant parents.
The fear that you are going crazy, that you are imagining the things that wound or haunt you, is one our culture is always ready to confirm in women. We have been culturally conditioned to distrust our own minds, our own responses to the world around us. The writers of Gothic narratives have always understood this…In any situation of intense pain or fear, whether medical or domestic, being told repeatedly that you are imagining things or “making them up” creates a hell of Gothic isolation.
One need not be a chamber to be haunted,
One need not be a house;
The brain has corridors surpassing
Near the beginning of Guillermo del Toro’s new horror movie, Crimson Peak, a group of Victorian socialites describe the heroine, a young, aspiring American novelist named Edith Cushing, as “our very own Jane Austen,” cattily adding of Austen: “She died a spinster.” Edith replies, “I’d rather be Mary Shelley,” adding, after a pause, “She died a widow.”
Beyond this exchange’s underlying dialogue of marriageability, Edith’s preference for Mary Shelley situates Crimson Peak in the genre of Gothic terror which runs from Anne Radcliffe to Shelley herself to Charlotte Brontë to Daphne Du Maurier and beyond. Edith’s rejection of Austen implies that this movie is not a send-up of the Gothic genre, as Austen’s satirical Northanger Abbey is, even when the film self-consciously trots out the most worn conventions of the genre. More subtly but even more importantly, Edith’s preference signals the film’s distance from the worldview that produced Austen’s satirical novel: there will be no shaming of the female protagonist’s overheated imagination here, as there is via a pedantically mansplaining male figure in Northanger Abbey. In Crimson Peak, all the heroine’s fears are confirmed—along with some terrors that never occurred to her before they were revealed, though they probably occurred to the viewer with any experience of Gothic tales.
You forgot there was a James Bond movie coming out, didn’t you? Me too, until I found myself in theaters watching it. Minor spoilers for tone and the teensiest of spoilers for plot, but…you’re not watching this for the plot anyway, are you? Don’t.
How much abuse can a middle-aged body take?
A good soundtrack makes all the difference
It’s about THE DATA DAMNIT
This is definitely not an obsolete franchise, nope
The world’s cybersecurity problems boil down to a personal grudge, surprise!
Never neglect a German child
This guy again
What do you mean this is an outdated sensibility
Here we are in North Africa living a beautiful khaki imperialist dream
This is one of the versions of Drake I like the best: in his feelings, dancing alone (and endearingly, not very well), wearing a thick cable-knit turtleneck because that’s the sartorial expression of his feels. There’s also something about this song that sticks with you, despite its simplicity, its repetitiveness. The video itself is hypnotic. I like to imagine that Drake is actually inside the water cooler at the beginning, dancing with a bunch of miniature ladies, because why not? Continue reading “Weekly Dance Break: Hotline Bling (Drake) MV”
To me, there was really one choice for weekly dance break this time around.
A warning, I suppose, for violence and nudity—though not more violence, I think, than your average CSI episode. This is also allegorical. It’s more than just a bloodbath. It’s a meditation on how intensely personal financial violence is (look for the knife Ri Ri labeled “ruined credit”), since money is always more than money—it’s power, independence, survival. It also contains a lot of food for thought re: the status of the white trophy wife. Finally, Black Girl Dangerous said it better than I could, with regard to the “torture porn” aspect of a black woman inflicting pain on a white woman.