Culture

Like most of the world, I saw M. Night Shyamalan’s very fine ghost story The Sixth Sense when it came out in 1999. It’s a blessing that it was released in pre-social media days, because its central twist would have been spoiled in minutes. Yet even without the shock value occasioned by its splashy central revelation, the film is still a haunting (no pun intended) piece of work, a Kubrickian exercise in restraint where the horrors are genuinely terrifying on the few occasions that the movie moves out of its comfort zone of chilly reflection. The then-twenty-nine-year-old director clearly had a glittering career ahead of him. I looked forward to his next film eagerly. Two and a half decades on, I would happily cross the country to avoid seeing another film by Shyamalan.

When someone compiles the history of 21st-century Hollywood, the section devoted to Armie Hammer will be one of the most bizarre. “Handsome leading man, came to prominence playing twins in The Social Network, a film about a forgotten invention known as Facebook. Most of the films he was subsequently cast in flopped, despite often being quite good. Amidst allegations of sexual assault and worse, it was then revealed that he had a cannibalism fetish, and that was the end of his acting career.” Yet canceled Hollywood figures often refuse to stay canceled these days.

Say what you like about the Marvel Cinematic Universe (or the MCU, for short) — and I do, frequently — but you can’t deny that it has a grim efficiency. The MCU impressively herds tens of millions of unsuspecting moviegoers into theaters to watch the latest incomprehensible special effects behemoth, with a wildly overqualified and suitably embarrassed cast. As I write this, the latest installment to threaten audiences is Ant-Man and the Wasp: Quantumania. Now I don’t know what Quantumania is, and I will be perfectly happy to never find out. But as the previous film, Ant-Man and the Wasp (the titles lack a certain finesse), made more than $600 million at the box office, I accept I might be in the minority.

The Sims is now trans-inclusive! Electronic Arts, the gaming company behind the wildly successful Sims franchise, added the ability to give your custom sims double mastectomy scars, tucking underwear, and chest binders in the latest update to The Sims 4. The new Create a Sim options are available for teen, young adult and adult sims. Teen sims attend high school in the game, so Electronic Arts is subtly promoting the idea of "top surgery" — or lopping off healthy breasts so that females may appear physically more male — for minors. According to one study, chest reconstruction surgeries for minors in the United States rose by nearly 400 percent between 2016 and 2019. https://twitter.com/make_it_sizzle/status/1620553289078284288?

Sarah Polley’s Women Talking begins with a genuinely bone-chilling premise. Within a remote Mennonite “colony,” the women find themselves awakening from drugged slumbers, bearing the marks of violent sexual assaults in the night — blood, bruises, and mysterious pregnancies. Who’s responsible? Based on the promotional material, I expected this to be a story about secrecy and community. And that would be a very compelling story: women trapped in isolation form whisper networks among themselves, which finally reveal their common experience and allow them to bring their attackers to justice. Thematically, this would get at the intractability of human evil, even within “intentional communities,” and the harms of a subculture that treats bodies as shameful.

Last week, The Spectator reported on Russell Hantz, a three-time contestant on the CBS reality show Survivor, scamming innocent fans of the show out of their fantasy football winnings. We confirmed via social media messages and Venmo transactions that Hantz had failed to pay out winners in at least two fantasy football leagues he had helped organize — one in 2018 and one this season. Now, more people are coming forward to say that Hantz took their money too. Three members of a second fantasy football league Hantz organized this year all confirmed to me that the league's winner never got paid. As was the case in other leagues, Hantz recruited someone else to be the commissioner, but collected all league dues via Venmo. When it came time to fork over the money, Hantz ghosted.

The new Some Like It Hot on Broadway has bass player Jerry (J. Harrison Ghee), disguised among Big Sue’s Society Syncopators as “Daphne” to hide from the Chicago mob, decide to embrace the drag lifestyle and elope with his elderly suitor Osgood (Kevin Del Aguila) by the show’s end. (The 1959 film closes with Jerry straining to extract himself from Osgood’s clutches.) Many theatergoers will not expect this update, setting up a bit of dramatic irony too delicious to be unintentional. What’s a drag show, after all, without a few surprises? To my knowledge, this irony has gone entirely uncapitalized by headline-writers across the nation. Some Like a Hot Dog! Speakeasy, Don’t Tell! Billy, but Wilder! Jack’s Lemon!

Pete Davidson is comedy’s human Etch-A-Sketch. The King of Staten Island star is plastered in tattoos, though he’s proved indecisive of late as to what art he wants to wear on his skin for the rest of his life. Paparazzi photos that were published this weekend indicate that Davidson is ditching the elaborate depiction of the late Supreme Court justice Ruth Bader Ginsburg. Eagle-eyed Turning Points Memo reporter Hunter Walker spotted the in-progress removal after Davidson was snapped frolicking on a Hawaii beach with his Bodies Bodies Bodies co-star Chase Sui Wonders. https://twitter.

Two of last year’s biggest commercial flops, Amsterdam and Babylon, share certain DNA. They’re both big-budget, adult-oriented, period dramas of a kind that aren’t supposed to be made any more (except the fact that there are two of them suggests they are) from edgy auteur writer-directors who had big hits a few years back and have been busily spending the credit that they acquired from their success ever since. Both mix comedy and seriousness in a fashion that ought to attract critical plaudits but has brought little public interest. And they’re both long: Amsterdam is two and a quarter hours, and Babylon is a frankly staggering 189 minutes, which is near-Avatar levels of endurance. And, finally, both star Margot Robbie.

This week it was reported that Justin Roiland, the co-creator and star of the smash-hit animated sitcom Rick and Morty, is facing two felony domestic charges in Orange County related to an incident in January 2020. According to court records, Roiland is charged with “domestic battery with corporal injury” and one count of “false imprisonment by menace, violence, fraud, and/or deceit.” Some documents related to the incident are sealed, meaning the full details of his case aren’t publicly available — but if convicted, Roiland could face several years in prison. Shortly following this news, several women online accused Roiland of online harassment. And not just harassment, but bona fide creep behavior.

It turns out that my personal axiom "Never trust a man in a fedora" remains undefeated. I recently finished the latest season of Survivor, the long-running CBS reality show, and decided to hop on Reddit to see what other fans thought of the finale. Amid the season analyses and contestant drama was a rather disturbing allegation: according to one Redditor, one of Survivor's most infamous villains was scamming people out of thousands of dollars. Russell Hantz is an oil worker from Texas who has competed on Survivor three times. He has never won, but has twice been voted America's fan favorite contestant, earning him $200,000 in winnings.

There’s a bit of moviegoing conventional wisdom that says January is the dumping ground for Z-list schlock films, all the genre fare not good enough for the holiday or summer seasons. And that’s why M3GAN — directed by Gerard Johnstone, and boasting story and production credits from legendary horror/thriller director James Wan — is such a pleasant surprise. It’s a nasty little cinematic bonbon packed with memorable images, and one that manages to say a few interesting things about modern life. After eight-year-old Cady (Violet McGraw) witnesses her parents’ deaths in a horrific auto accident, she’s sent off to live with her single aunt Gemma (Allison Williams).

Relatively few rock musicians would care to replace Eric Clapton in a band, or to veer spectacularly off course to record a free-form jazz-inflected album that defied prediction to sell two million copies, or for that matter to laughingly turn down an invitation to become a fully fledged member of the Rolling Stones. The British guitarist Jeff Beck, who died this week at the age of 78, did all of these things and more. A brilliantly gifted instrumentalist, he never kept still musically. To call Beck the David Bowie of the guitar world would be to confer a somewhat misleading sense of consistency on a maverick who seemed to reinvent himself with every album, and sometimes every song.

In the era of boring Hollywood-Marxist blockbusters like Avatar: The Way of Water, it’s quite refreshing to see Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles, a half-a-century-old masterpiece of European art cinema, proclaimed the best movie of all time by the 2022 Sight and Sound poll. Chantal Akerman’s 1975 film reached the top after a long delay, thereby confirming the fact that each present era retroactively rewrites its past. Jeanne Dielman is fourth in the series of Sight and Sound's best films, preceded by Eisenstein’s Potemkin, Welles’s Citizen Kane and Hitchcock’s Vertigo. The film’s triumph is, of course, the result of a well-planned campaign to promote a woman to the top position.

If horror films today are largely read as political satires or commentaries, then the “moral” of Gerard Johnstone’s M3gan, about a sentient robot doll unwisely invited into the family home, is clear enough. Playing on our fears of the AI technology increasingly being used as “labor-saving devices,” M3gan is a tale of bad mothering and the price to be paid by career-oriented millennial women if they try to “have it all.” This may make it catnip for trolls and conservative commentators who love to chide women for any parenting style that doesn’t involve frilly aprons and a plastered-on smile. But you need to squint a bit to see this latent message. If you do, you’re missing a more complex (and more horrifying) story.

"I’ve had an extraordinary life, I must make an extraordinary film," Madonna told Variety in July, as she described her decision to helm her own biopic as a "preemptive strike" against the men who wanted to tell her story. That was last summer, when there were reports of a months-long "Madonna bootcamp" led by casting director Carmen Cuba, which included eleven-hour choreography sessions, where everyone from Florence Pugh, Alexa Demie, Bebe Rexha, Odessa Young and Sky Ferreira auditioned to play the "Material Girl." Madonna said she wanted the role to go to someone who could "convey the incredible journey that life has taken me on as an artist, a musician, a dancer...the focus of this film will always be music.

Auteur director Darren Aronofsky has never made the same film twice. From the grainy mathematical horror of Pi to the romantic fantasy-drama of The Fountain to the sprawling biblical vistas of Noah, each of his films sharply diverges in style and subject matter from the one before it, pressing forward into strange new genres. That said, his movies certainly share some common motifs — particularly a piercing sense of longing for transcendence, for the eternal. Every single film he’s ever directed has this quest at its center. Almost as ubiquitous across his work, though, are ferocious depictions of the body in pain, pressed to its limits and beyond in pursuit of the infinite’s perfection.

At a private liberal arts college in Minnesota, art history is now Islamophobic. In October, an art history professor at Hamline University was teaching Islamic art, a segment that included two depictions of the Prophet Mohammed in fourteenth- and sixteenth-century paintings with significant historical value. The professor alerted her students beforehand, careful to ensure that observant Muslims who object to the depiction of their prophet would not have to see him on screen. It seems that the professor had done everything right: providing images of famous paintings for her students’ edification but allowing students to opt out of viewing them if doing so ran contrary to their religious beliefs. But who are we kidding? This is a liberal arts college in the twenty-first century.

The screen begins on black; a slow reverse zoom reveals that we're looking at a laptop screen during a Zoom meeting. We think we’re watching a film reflecting the realities of Covid. But it’s 2016, and the black screen in the middle (reading “instructor” in the lower right-hand corner) belongs to our protagonist, Charlie (Brendan Fraser). He’s teaching an online English class, going through the motions of a job that means very little to him. His world is dark and painful; he doesn’t want to let anyone in. After he logs off, we see his enormous body masturbating to gay porn. His orgasm triggers a heart attack that feels like the punchline to a cruel joke, but it plays as anything but that.

In the early going of The Piano Lesson (1987) there’s mention of a merchant buying up musical instruments in the black neighborhoods of 1930s Pittsburgh. When offers for the titular family piano are rejected by its current proprietor, Berniece, her brother Boy Willie, who has arrived from the south, hopes to sell it to him behind her back. It’s a coy reference to that great Broadway salesman of band equipment, Meredith Willson’s Music Man (1957), and the reversal gives you some idea of playwright August Wilson’s method. Where Meredith built a full musical around a musical zero (Harold Hill is tone-deaf), August composed a stage play from the music of the blues, which he called the “sacred book” of black literature.