Chuck Klosterman on Film and Television by Chuck Klosterman PDF

By Chuck Klosterman

From Sex, medications, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are to be had during this e-book assortment for enthusiasts of Klosterman's writing on movie and tv.

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Being interesting has been replaced by being identifiable. I guess my only hope is to find myself an Alabama Julie, whose wonderfully one-dimensional naïveté will be impressed by the unpretentious way I vomit out the window. 1. An obvious example: White kids using the word like phat unironically. 2. Kevin from RW 1, Kameelah from RW 6, Coral from RW 10, etc. 3. Norman, Beth, Pedro, Dan, Chris, et al. 4. Julie, Elka, that big-toothed Mormon, the girl with perfect lips from Louisiana, and Trishelle.

What matters is that Coldplay manufactures fake love as frenetically as the Ford fucking Motor Company manufactures Mustangs, and that’s all this woman heard. “For you I bleed myself dry,” sang their blockhead vocalist, brilliantly informing us that stars in the sky are, in fact, yellow. How am I going to compete with that shit? That sleepy-eyed bozo isn’t even making sense. He’s just pouring fabricated emotions over four gloomy guitar chords, and it ends up sounding like love. And what does that mean?

The show succeeds because it edits malleable personalities into flat, twenty-something archetypes. What interests me is the way those archetypes so quickly became the normal way for people of my generation to behave. ” In a broad sense, that’s accurate: Since that first Real World was entirely new, no one knew what it was going to look like (or how it would be received). Nobody in the original New York loft was able to formulate an agenda on purpose. Logically, this should make for great television.

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Chuck Klosterman on Film and Television by Chuck Klosterman

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