Us is a strange title for a horror film. "Them" and "It" are the go to pronouns for horror, suggesting otherness and the unknown. In contrast to this "us" is often the familiar, that which is generally threatened by some unknown "it" or "them." "Us" suggests unity not division, familiarity rather than fear, and would in general seem a more fitting title for a sappy romance than a horror. That Jordan Peele uses this title for his film suggests how uncanny it is, and how much the divisions between us and them are going to come under scrutiny. Jordan Peele's first film, Get Out hinged on the terror of the realization that one could be betrayed by one's most intimate relationships. While Us works with very different subtexts and cultural anxieties it takes that basic uncanny sense of the foreignness and hostility of what is most familiar to new and more twisted levels.
Saturday, March 23, 2019
Saturday, March 16, 2019
It is impossible to overstate how much a fan I was of The Twilight Zone. I watched every episode of the old show, it was the reason that I had a small black and white TV in my bedroom growing up; subscribed to the magazine, a magazine which covered science fiction and published original short stories; and watched the movie and reboot.
Monday, March 04, 2019
Portrait of the author as a Hampshire Student
I graduated from Hampshire College. Not only that, but I credit Hampshire for much of my early education. It is for this reason that I have followed the news about its current troubles very closely. Hampshire's troubles, and the possibility that the college could close, feel not just like the future being cancelled but the present as well. It is like watching one's very own condition of possibility disappear. I felt the same way about the elimination of the Philosophy, Interpretation, and Culture program at Binghamton University. It is like that scene in Looper where the character in the future is literally dissected by the past.
Sunday, February 03, 2019
Simone Weil's "Sketch of Contemporary Social Life" is a text that seems oddly prescient at every turn, making Weil appear to be a seer as much as the saint she is often made out to be. There are references to what later generations would call "the culture industry," "financialization," and even the theories that dominant contemporary politics.
Sunday, January 27, 2019
The rise of "prestige television" could also be told as a story of the decline of the American dream. From Tony Soprano's nagging suspicion that "The best is over" to Frank Sobotka's assertion on The Wire that "We used to make shit in this country, build shit. Now we just put our hand in the next guy's pocket," so called prestige TV has been as much about the growing awareness of industrial decline as it has been sustained by complex narratives and characterization. Like a kind of Borgesian fable, American television has improved as the thing that it was about, daily life of the middle class, has unraveled. When nuclear families do appear they are just as likely to be fronts for Soviet spies or held together by lies and brutality. No show has taken this decline more literally than Lodge 49. At one point a character even utters the line "post-industrial capitalism."
Thursday, January 03, 2019
Lately, I have been thinking of Bizarro World. This is odd since I never really read many Superman comics growing up. I was mostly into Marvel comics. What I know of Bizarro world comes mainly from watching cartoons and the general cultural osmosis, despite being an obscure comic book character Bizarro even made it onto Seinfeld. What has provoked me into thinking about it is not the cultural history of the term, but its contemporary relevance. We seem to be living in an inverted world of sorts: capitalists call themselves workers, white supremacists claim to be an oppressed minority, and so on. Everything seems upside down and backwards.