Scott Lemieux says don’t pin the misogyny of The Social Network on Sorkin, because the film takes a critical stance towards Zuckerberg’s contempt for women. I haven’t seen the movie yet, but it strikes me as relevant that in real life, Zuckerberg had a long-term girlfriend,worked with women when he created Facebook, etc. I think even if we take it as given that Sorkin rewrites Zuckerberg to make him a misogynist and added all the details about Asian girls so mad for geeks they give blowjobs in bathroom stalls and Harvard parties where girls lose their tops all the time, and then critiqued it successfully, there’s something… off about erasing the creative role of women in the creation of Facebook completely in order to make that critique.
Whether that’s an aesthetic failure is a different question, and one that would have to wait until I get around to seeing the film (check back in…
In Mad Men we watch a group of people who live in a prosperous society that offers happiness and order like never before in history and yet are full of anxiety and unease. They feel there is something more, something beyond. And they feel stuck.
I think we are fascinated because we have a lurking feeling that we are living in a very similar time. A time that, despite all the great forces of history whirling around in the world outside, somehow feels stuck. And above all has no real vision of the future.
And as we watch the group of characters from 50 years ago, we get reassurance because we know that they are on the edge of a vast change that will transform their world and lead them out of their stifling technocratic order and back into the giant onrush of history.
The question is whether we might be at a similar point, waiting for something to happen. But…
I agree and disagree with Scott; were Inception properly a movie interested in answering “is it a dream within a dream?”, or even a film that tried to get us to guess, I would agree that it fails. But I thought the movie succeeded, though it was good, but not great. There will be spoilers after the jump, though nothing I think that would rob one’s enjoyment of the film. Nor will there be a defense of Nolan himself after the jump; it would not surprise me that the man’s intentions could be defended, but the only other work of his I’ve seen is the Batman reboot, which was notable mostly for Heath Ledger’s performance, the disappearing pencil trick, and Batman flipping the truck.
What can I say? I enjoyed it, and as a curmudgeon-in-training, I have a low tolerance for entertainment that purports to be about something big and philosophical but is really about the authors putting…
Some cutesy references are too heavy-handed even for Oliver Stone. In the early reports on Wall Street: Money Never Sleeps, the villain was a character named—no, just read it for yourself:
The film will center on young Jacob Moore (Shia Labeouf) who acquires the assistance of former Wall Street mogul Gordon Gekko (Michael Douglas) — who happens to be the estranged father of his girlfriend Winnie (Carey Mulligan) — in trying to bring down hedge fund manager Bretton Woods (Josh Brolin) who he blames for the suspicious death of of his mentor (Frank Langella).
People keep pushing the 70-minute Phantom Menace video review at me. After all, Damon Lindelof thinks it’s great. And if you have seventy minutes and really don’t mind a creepy persona explaining to you why George Lucas messed up so badly, be my guest. For the record, though, my concern with the Star Wars prequels is not that they’re bad movies, they’re immoral stories. And it will take you less than seventy minutes to read why. And it will probably be less creepy. (more…)
Jean Baudrillard turns out to have had it wrong: I say television creates real communities. Friday Night Lights is no false simulacrum. It’s practically as real as real life—a show about high-school football that’s also about race and class and physical handicap and angst and sex (fraught sex between teenagers, mature sex between their parents) and why people fear things they don’t know. When I watch it, and know that millions of others are—and when I visit its Web site or read chat rooms devoted to the show—I become a part of something.
I think Tomasky’s broad point is correct, though I prefer my virtual television-inspired community at an ironic remove—I never visit a show’s website, but I will go to its Television Without Pity site.
In the hands of a writer sick with ambition, these subjects might have become the occasion for a meditation on the virtues of discipline; for a writer poisoned by sentiment, they might have become treacly elegy. But Ebert seems these days just to be writing because he really wants to tell you how it is, and it’s very good writing indeed.1
1Which is not to say that I’ve never felt misled by his movie criticism. Not to go too deeply into things, but I would leap to play the dour Siskel to his thumbs up for Indiana Jones and the Crystal Skull and Synecdoche, New York.
Ari tells me I’m the last person to notice this, but what the heck: it’s totally obvious that Disney’s Robin Hood is a fable for the modern American right wing, isn’t it? I mean, the Merry Men, these guys who are traditionally English yeomen, are instead depicted and voiced as country music-lovin’, church-goin’ good ol’ boys who just want them some tax rebates. No, really, Andy Devine’s Friar Tuck actually says “tax rebates.”
Want to push this reading untenably further? Notice that Robin Hood and Little John shrug off the idea of running up enormous debt while cutting back taxes. Notice Little John stoutly defends what’s clearly, within the narrative, a foolhardy military adventure as a “great crusade.”
But look: isn’t secular holiday music something we can all agree on? I mean, it sucks. It really does.
No, we can’t agree on that, you big square Grinch. Top of the list of things I would rather hear than a moany Muzak version of “Adeste Fidelis” is going to include the following, but most of all Mitch Benn’s “True Meaning of Christmas” and other songs, here.
Speaking of period dramas on television, John Rogers recently told me to watch Life on Mars. So I am. And so far it’s really quite good: early Hill Street Blues meets A Connecticut Yankee in King Arthur’s Court (or something).
Anyway, the thing I’m enjoying most is the show’s relentless critique of nostalgia. The main character, a contemporary British detective who finds himself transported back in time to Manchester in 1973, can’t seem to decide if he misses his friends or his cell phone more. When he’s at his most despairing, in the early episodes at least, he focuses on the dearth of creature comforts available to him. Even if you weren’t trained as an environmental historian, the emphasis on material conditions — a lack of central heat, spotty electricity, a studio apartment appointed with a twin bed — is pretty obvious. It’s a healthy reminder that the past, even the…
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This blog is a blog about history, Yiddishkeit, and the Muppets, neither exclusively nor necessarily in that order. And as William Gibson said about this very blog (no, really), “History can save your ass.” Yiddishkeit and the Muppets are just extras.
is the associate director of the Cornell in Washington program and a senior lecturer at Cornell University. He teaches courses on European history, modern military history, guerrilla war, and the role of popular will in waging war.
is a professor of history at UC Davis. He is the author of A River and Its City: The Nature of Landscape in New Orleans, which won the Abbott Lowell Cummings Prize in 2004, and his new book, A Misplaced Massacre: Struggling Over the Memory of Sand Creek, will be published by Harvard University Press in fall 2012.
is a professor of history at UC Davis. She is the author of Real Enemies: Conspiracy Theories and American Democracy, World War I to 9/11 (Oxford, 2009); Red Spy Queen: A Biography of Elizabeth Bentley (North Carolina, 2002); and Challenging the Secret Government: The Post-Watergate Investigations of the CIA and FBI (North Carolina, 1996).