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Links for the Day: The Simpsons/Family Guy Crossover Was Weird, Why The New York Times‘s TV Criticism Is So Bad, David Simon Interview, & More

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Links for the Day: The Simpsons/Family Guy Crossover Was Weird, Why The New York Times‘s TV Criticism Is So Bad, David Simon Interview, & More

Synecdoche, New York: Like The Burning Plain, Charlie Kaufman’s directorial debut showcases a screenwriter who, freed from the influence of collaborators, indulges all his thematic quirks like a dieting matron lunging at a box of bonbons. Whereas Guillermo Arriaga overdoses in piety, self-fondling morbidity proves to be Kaufman’s choice of drug from the moment the filmmaker’s avatar, a playwright named Caden (Philip Seymour Hoffman), announces, “I think I’m dying.” The opening 40 minutes or so, as Hoffman’s slumped sad-sack is abandoned by his wife (Catherine Keener) and fumbles with a box-office worker (Samantha Morton), are promising despite the militant moroseness that plagues even the film’s most whimsical flights of fancy. But when the Chinese boxes start to proliferate—Caden turns his life into a crumbling theatrical show, complete with lookalike performers—the viewer is reminded of what dead-ends brilliant screenwriting conceits can be when left by themselves on the screen. Kaufman may see Caden’s rants (“I won’t settle for anything less than the brutal truth”) as confessional, but in the context of what is arguably cinema’s least joyous depiction of an artistic mind at work, a shot of the character looking for blood in his stools seems more telling.

2. “Here’s Why The New York Times’ Television Criticism Is So Bad” How a decades-long blind spot culminated in the “Angry Black Woman.”

“As [Mo] Ryan, now head television critic for the Huffington Post, told me about [Alessandra] Stanley: ’I have never gotten the sense that she has any enthusiasm for television as an art form.’ Clearly she watches the shows she reviews, but does she actually watch, and understand, the whole equation of contemporary television? Does she write about it as her antecedents did—as an entertaining diversion—or does she approach television as the confluence of industry, artistry, and audience? But Stanley doesn’t exist in a vacuum. According to several Times staffers, the paper’s secondary critic, former copy editor Neil Genzlinger, was appointed to his job after then-Culture Editor Jonathan Landman promised him that the next critic position that came open—whether books, TV, or any other field in which Genzlinger had dabbled—was his. (Landman declined to comment on this story.)”

3. “Why my video essay about All That Jazz is not on the Criterion Blu-ray.” Matt Zoller Seitz explains why, then gives you the chance to see it.

“Criterion wanted to be extra careful about that last part on the All That Jazz disc, even though in theory they were working by Fair Use principles. The last time I did a video essay for them—back in 2010, for the Blu-ray of The Darjeeling Limited—they nixed my idea to do a Fair Use-style essay incorporating a lot of different clips, a la my Wes Anderson series ’The Substance of Style,’ because they preferred to officially clear each and every clip; this was, they believed, the only way to guard against getting pressed by lawyers into having to recall discs and re-edit or delete the supplement. A lot of filmmakers and distributors have that concern: that even if you’re legally in the right regarding Fair Use-appropriated clips, intellectual property rights-holders might still come after you, and try to bully you into removing clips rather than spend money defending your legal right to use them. That’s a hill pretty much nobody wants to die on.”

4. “All Atwitter.” Jonathan Lethem on David Cronenberg’s Consumed.

“Whether to your taste or not, it really shouldn’t be shocking. In fact, such particulars are most likely routinely matched, or surpassed, in the work of thriller and horror writers in the post-Thomas Harris era, when monsters must trump Hannibal Lecter or else go home. What’s vertiginous in Cronenberg’s book is that such matters are presented in the absence of a reliably bourgeois moral framework. Instead, Cronenberg details them with a clinical curiosity. Try this: ’When a slim-hipped naked young man entered the frame, Naomi immediately knew it was Hervé, even before he walked around the side of the table to place his hooked penis in Célestine’s coolly accommodating mouth. He brought with him something metallic that looked like a ray gun from a 1950s sci-fi movie, pale-blue and silver and trailing a black cable behind it….The naked young woman who entered from frame right, however, she did not immediately recognize, even after the woman had knelt at the head of the table in order to kiss and lick Célestine’s mastectomy scar.’ Or this: ’Nathan zoomed into the photo in front of them. That was ecstasy on her face as she cut herself, not self-pity, not masochistic pleasure….Nathan was shaping the article as he reacted. He would have liked to record these thoughts, just say them to GarageBand so that he wouldn’t forget them, but he was not yet comfortable enough with Roiphe to collaborate in that intimate way, to leave himself vulnerable to the old man’s sarcasm and irony.’”

5. Wire creator David Simon: Corporations ’the cancer’ that are slowly killing American middle-class.” In a chat with The Observer’s John Mulholland, Simon discusses how money corrupts US politics, the erosion of the working class, why it’s a crime to be poor in America—and why he likes to argue.

“Simon is not sanguine about what it will take for corporate and political America (increasingly one and the same) to recognise that if the story continues in this vein it will not end well. ’I think in some ways the cancer is going to have to go a little higher. It’s going to start crawling up above the knee and people are going to have to start looking around and thinking ’I thought I was exempt. I didn’t know they were coming for me.’ It’s happened to the manufacturing class, it’s happened to the poor. Now it’s happening to reporters and schoolteachers and firefighters and cops and social workers and state employees and even certain levels of academics. And that’s new. That’s not the American dream.’”

Video of the Day: So, in the year 10,535, Aphex Twin will ostensibly be providing the titles for all episodes of The Simpsons:

Links for the Day: A collection of links to items that we hope will spark discussion. We encourage our readers to submit candidates for consideration to ed@slantmagazine.com and to converse in the comments section.

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Who Killed My Father Is Heartbreaking but Prone to Pat Sociological Analysis

Édouard Louis’s latest is strong as a portrait of a family unable to communicate through anything but volatile, toxic outbursts.

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Who Killed My Father

Author Édouard Louis’s father has been an important figure in each of his previous works, even when he’s never seen or mostly at the periphery (as in The History of Violence). With his latest, Who Killed My Father, Louis finally turns to directly examining his most important, damaged relationship. Both in his previous books and interviews, Louis has repeatedly acknowledged this broken relationship, largely stemming from the author’s open homosexuality. Alongside this, Louis’s prior works have circled around a number of themes to which he returns here: the French political and working classes, the small-town prejudices that surrounded his upbringing and drove a closeted homosexual boy to escape to more cosmopolitan Paris, and the role of state power in producing social and physical illness.

With Who Killed My Father, Louis invites inevitable comparisons to Abdellah Taïa, another talented French writer who’s also gay and largely estranged from his place of origin, and also primarily an autobiographical novelist. Like Louis, Taïa incorporates his complicated relationship with a parent into several of his books. Taïa also connects that relationship, his writing, and his experience with the society he left behind in Morocco and the one he found in France. But what distinguishes his writing in, for example, Infidels or Salvation Army from that of Édouard Louis in Who Killed My Father is a strong sense of meaning. Taïa incorporates his relationship with his mother, M’Barka, to convey something more meaningful and developed.

Louis begins down this same road before clumsily inserting a political tract at the end of Who Killed My Father that doesn’t knit as effortlessly with parts one and two. The book situates Louis’s relationship with his father front and center as compared to his previous work. It’s clear that he’s exposing the painfulness of their relationship for the purpose of speaking about political power and its physical and social toll on those who don’t possess it, but Who Killed My Father stumbles in conveying its message adequately.

Louis’s account of his father’s suffering and violence toward those around him is both painful and sharp. Who Killed My Father is strongest when Louis is demonstrating his father’s most private acts of kindness, as when the father gives Louis a copy of Titanic for his birthday after trying to convince him to ask for a more “masculine” gift. After Louis realizes that his carefully planned tribute to the pop band Aqua at a family dinner has embarrassed his father, the man reassures Louis that “it’s nothing.” In the book’s first and strongest part, Louis expounds not only on the relationship with his father, but also excavates what might have made his father the man he grew up with. At one point, he recounts finding a photograph of his father in women’s clothes—undoubtedly some adolescent joke, but also inconceivable from the man who insisted to his son that men should never act like girls.

Regrettably, part one ends with a trite conclusion that says everything and nothing at the same time. In part two, the story attempts to braid together all the malignant threads of Louis’s family narrative. Louis recalls igniting a violent outburst between his father and older brother as a result of his mother shaming him for acting too much like a girl (“faggot” is what some others in the neighborhood more precisely call him). The insinuation hurts and angers him so much that he betrays his mother’s confidence on another family secret, setting loose a new wave of violence. Part two is short and important to moving Who Killed My Father toward some wider evaluation of the questions Louis begins the book with, but it ultimately fails to find its footing by pivoting in part three to an unearned polemic against the political classes.

Who Killed My Father is strong as a portrait of a family unable to communicate (except in brief moments of tenderness) through anything but volatile, toxic outbursts, but the book at its weakest when trying to ham-handedly force this narrative into some broad theorizing about power and society and structural violence. Part one aligned beautifully with a narrative of meaning more comparable to Taïa at his best. Unfortunately, the story quickly falls apart when Jacques Chirac is indicted for destroying Louis’s father’s body through changes in health care coverage. It’s not that the questions Louis ends with aren’t necessary and important ones; it’s that there’s so little threading the narrative together into anything cohesive. What was the point of the first two-thirds of the book? His father was cruel, occasionally loving, but never mind because the state is killing him? The life of the poor is one of abject powerlessness against an unremittingly powerful and callous “ruling class”?

Louis deserves credit for the attempt to tie it all together into some grander commentary on the political class and its ambivalence, but the conclusion is simultaneously glib and condescending. Perhaps Louis didn’t intend it, but the book’s conclusion drains away responsibility for the cruelty and bigotry of those like his father, and patronizes them as with a quick How could we expect any better of the noble, working poor? Is it the state’s or the ruling class’s subjugation of his father’s body that’s somehow also responsible for his inability to sympathize with gays or immigrants? Of course, the poor are subjugated by the rich and Louis has written more meaningfully about the implications of that relationship elsewhere. But in Who Killed My Father, he inadvertently demonstrates that the answer isn’t to sanctify them any more than it is to demonize them.

Édouard Louis’s Who Killed My Father is now available from New Directions.

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Through the Years: Madonna’s “Like a Prayer” at 30

To celebrate this sacred anniversary, we’re taking a look back at the single’s evolution over the last three decades.

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Through the Years: Madonna’s “Like a Prayer” at 25

This week Madonna’s iconic hit “Like a Prayer” turns 30. The song is, by all accounts, her most broadly beloved contribution to the pop-music canon, landing at #7 on our list of the Best Singles of the 1980s. Even the singer’s most ardent critics can’t help but bow at the altar of this gospel-infused conflation of spiritual and sexual ecstasy, a song that helped transform Madge from ‘80s pop tart to bona fide icon. To celebrate this sacred anniversary, we’re taking a look back at the single’s evolution over the last three decades.

Editor’s Note: This article was originally published on March 3, 2014.

https://www.youtube.com/watch?v=1x2z_rY1Fjk

Pepsi Commercial

Following a teaser that aired during the 31st Annual Grammy Awards in January of 1989, Madonna premiered “Like a Prayer” in a Pepsi commercial during The Cosby Show, the #1 rated series on U.S. television at the time. Part of a $5 million sponsorship deal with the soft-drink company, the ad, titled “Make a Wish,” was an innocuous bit of nostalgia that would soon be eclipsed by the scandal surrounding the single’s forthcoming music video.

https://www.youtube.com/watch?v=79fzeNUqQbQ

Music Video

Madonna dances in front of burning crosses and kisses a black saint in a church pew in this modern morality tale about racial profiling and pious guilt, prompting both the religious right and cultural critics, like bell hooks, to cry foul. Eventually, the mounting outrage caused Pepsi to pull out of their multi-million dollar deal with the Queen of Pop. The singer’s response was coyly defiant.

https://www.youtube.com/watch?v=3Xvjnay4kS8

Blond Ambition Tour

Madonna’s first live incarnation of “Like a Prayer” was also her best. Sure, her voice was raw and unrefined (“Life is a misstaree, eve’one mus stan alone,” she heaves), but her 1990 tour performances of the song displayed a rapturous, almost possessed quality that she’s never been able to recapture.

https://www.youtube.com/watch?v=V4vSbVWm6F8

Mad’House Cover

Dutch Eurotrash group Mad’House’s claim to fame is their blasphemous take on “Like a Prayer” from 2002. The glorified Madonna cover band’s version is stripped of the original’s nuance and soul, a tacky, mechanical shell of a dance track. Regrettably, this is the version you’re most likely to hear on Top 40 radio today. (Only slightly less heretical, the cast of Glee’s rendition of the song peaked at #27 in 2010.)


MTV On Stage & On the Record

Then notorious for forsaking her older material, Madonna dusted off “Like a Prayer” in 2003 during the promotion of her album American Life. Thirteen years after her last live performance of the song, even Madonna’s comparatively reedier voice and noticeably more limited range couldn’t diminish its enduring magic.


Sticky & Sweet Tour

After performing crowd-pleasing but relatively anemic versions of “Like a Prayer” during her Re-Invention Tour in 2004 and Live 8 in 2005, Madonna reinvented the song for her Sticky & Sweet Tour in 2008, using elements of Mack’s “Feels Like Home” for an amped-up techno mash-up.


Super Bowl XLVI

Madonna closed her record-breaking Super Bowl XLVI halftime show in 2012 with “Like a Prayer,” and though she wasn’t singing live, it was the closest she’s ever gotten to her ecstatic Blond Ambition performances. (For those lamenting the lip-synching, she would go on to reprise this version of the song, completely live, during her MDNA Tour later that year.) And if there were any doubt, a stadium of nearly 70,000 football fans waving flashlights and singing along is a testament to the song’s transcendent, all-encompassing appeal. The performance’s final message of “World Peace” seemed attainable, if only for a brief moment.


Met Gala 2018

Last year, Madonna dusted off her old chestnut for an epic performance at Vogue magazine’s annual Met Gala. The event’s theme was “Fashion and the Catholic Imagination,” which seemed tailor-made for both the Queen of Pop and “Like a Prayer.” Madonna slowly descended the steps of New York City’s Metropolitan Museum of Art in a shroud, flanked on both sides by a choir of monks, as she sang a Gregorian-inspired rendition of the pop classic. The performance also featured a portion of a new song, “Beautiful Game,” and a cover of Leonard Cohen’s “Hallelujah.”

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Awards

Oscars 2019: Complete Winners List

The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS.

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Green Book
Photo: Universal Pictures

The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS. Which isn’t to say that the ceremony wasn’t without its surprises. For one, whoever decided to capture Lady Gaga and Bradley Cooper’s performance of “Shallow” from A Star Is Born in one single take that would end with the pair sitting side by side, rapt in each other and framed in Bergman-esque repose, should hereby be responsible for every Oscar ceremony moving forward.

For some, though not us, Green Book’s victory for best picture came as surprise. As our own Eric Henderson put it in his prediction: “Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.”

In the end, the awards went down more or less as expected, with the only real shock of the evening being Oliva Colman’s stunning upset over Glenn Close in the best actress race. (Glenn, we hope you are on the phone right now trying to get that Sunset Boulevard remake to finally happen.) Black Panther proved more indomitable than expected, winning in three categories (none of which we predicted), and Free Solo pulling a victory over RBG that was the first big sign of the evening that, then and now, AMPAS members vote above all else with their guts.

See below for the full list of winners from the 2019 Oscars.

Picture
Black Panther
BlacKkKlansman
Bohemian Rhapsody
The Favourite
Green Book (WINNER)
Roma
A Star Is Born
Vice

Director
Spike Lee, BlacKkKlansman
Pawel Pawlikowski, Cold War
Yorgos Lanthimos, The Favourite
Alfonso Cuarón, Roma (WINNER)
Adam McKay, Vice

Actor
Christian Bale, Vice
Bradley Cooper, A Star Is Born
Willem Dafoe, At Eternity’s Gate
Rami Malek, Bohemian Rhapsody (WINNER)
Viggo Mortensen, Green Book

Actress
Yalitza Aparicio, Roma
Glenn Close, The Wife
Olivia Colman, The Favourite (WINNER)
Lady Gaga, A Star Is Born
Melissa McCarthy, Can You Ever Forgive Me?

Supporting Actor
Mahershala Ali, Green Book (WINNER)
Adam Driver, BlacKkKlansman
Sam Elliott, A Star Is Born
Richard E. Grant, Can You Ever Forgive Me?
Sam Rockwell, Vice

Supporting Actress
Amy Adams, Vice
Marina de Tavira, Roma
Regina King, If Beale Street Could Talk (WINNER)
Emma Stone, The Favourite
Rachel Weisz, The Favourite

Adapted Screenplay
The Ballad of Buster Scruggs, Joel Coen and Ethan Coen
BlacKkKlansman, Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee (WINNER)
Can You Ever Forgive Me?, Nicole Holofcener and Jeff Whitty
If Beale Street Could Talk, Barry Jenkins
A Star Is Born, Eric Roth, Bradley Cooper, and Will Fetters

Original Screenplay
The Favourite, Deborah Davis and Tony McNamara
First Reformed, Paul Schrader
Green Book, Nick Vallelonga, Brian Currie, and Peter Farrelly (WINNER)
Roma, Alfonso Cuarón
Vice, Adam McKay

Foreign Language Film
Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico) (WINNER)
Shoplifters (Japan)

Documentary Feature
Free Solo, Jimmy Chin and Elizabeth Chai Vasarhelyi (WINNER)
Hale County This Morning, This Evening, RaMell Ross
Minding the Gap, Bing Liu
Of Fathers and Sons, Talal Derki
RBG, Betsy West and Julie Cohen

Animated Feature
Incredibles 2, Brad Bird
Isle of Dogs, Wes Anderson
Mirai, Mamoru Hosoda
Ralph Breaks the Internet, Rich Moore and Phil Johnston
Spider-Man: Into the Spider-Verse, Bob Persichetti, Peter Ramsey, and Rodney Rothman (WINNER)

Cinematography
Cold War, Lukasz Zal
The Favourite, Robbie Ryan
Never Look Away, Caleb Deschanel
Roma, Alfonso Cuarón (WINNER)
A Star Is Born, Matthew Libatique

Film Editing
BlacKkKlansman, Barry Alexander Brown
Bohemian Rhapsody, John Ottman (WINNER)
Green Book, Patrick J. Don Vito
The Favourite, Yorgos Mavropsaridis
Vice, Hank Corwin

Production Design
Black Panther, Hannah Beachler (WINNER)
First Man, Nathan Crowley and Kathy Lucas
The Favourite, Fiona Crombie and Alice Felton
Mary Poppins Returns, John Myhre and Gordon Sim
Roma, Eugenio Caballero and Bárbara Enrı́quez

Original Score
BlacKkKlansman, Terence Blanchard
Black Panther, Ludwig Goransson (WINNER)
If Beale Street Could Talk, Nicholas Britell
Isle of Dogs, Alexandre Desplat
Mary Poppins Returns, Marc Shaiman and Scott Wittman

Original Song
All The Stars from Black Panther by Kendrick Lamar, SZA
I’ll Fight from RBG by Diane Warren, Jennifer Hudson
The Place Where Lost Things Go from Mary Poppins Returns by Marc Shaiman, Scott Wittman
Shallow from A Star Is Born by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER)
When A Cowboy Trades His Spurs For Wings from The Ballad of Buster Scruggs by David Rawlings and Gillian Welch

Costume Design
The Ballad of Buster Scruggs, Mary Zophres
Black Panther, Ruth E. Carter (WINNER)
The Favourite, Sandy Powell
Mary Poppins Returns, Sandy Powell
Mary Queen of Scots, Alexandra Byrne

Visual Effects
Avengers: Infinity War, Dan DeLeeuw, Kelly Port, Russell Earl, and Daniel Sudick
Christopher Robin, Chris Lawrence, Mike Eames, Theo Jones, and Chris Corbould
First Man, Paul Lambert, Ian Hunter, Tristan Myles, and J.D. Schwalm (WINNER)
Ready Player One, Roger Guyett, Grady Cofer, Matthew E. Butler, and David Shirk
Solo: A Star Wars Story, Rob Bredow, Patrick Tubach, Neal Scanlan, and Dominic Tuohy

Sound Mixing
Black Panther, Steve Boeddeker, Brandon Proctor, and Peter Devlin
Bohemian Rhapsody, Paul Massey, Tim Cavagin, and John Casali (WINNER)
First Man, Jon Taylor, Frank A. Montaño, Ai-Ling Lee, and Mary H. Ellis
Roma, Skip Lievsay, Craig Henighan, and José Antonio García
A Star Is Born, Tom Ozanich, Dean Zupancic, Jason Ruder, and Steve Morrow

Sound Editing
Black Panther, Benjamin A. Burtt and Steve Boeddeker
Bohemian Rhapsody, John Warhurst (WINNER)
First Man, Ai-Ling Lee and Mildred Iatrou Morgan
A Quiet Place, Ethan Van der Ryn and Erik Aadahl
Roma, Sergio Diaz and Skip Lievsay

Makeup and Hairstyling
Border, Göran Lundström and Pamela Goldammer
Mary Queen of Scots, Jenny Shircore, Marc Pilcher, and Jessica Brooks
Vice, Greg Cannom, Kate Biscoe, and Patricia Dehaney (WINNER)

Live Action Short Film
Detainment, Vincent Lambe
Fauve, Jeremy Comte
Marguerite, Marianne Farley
Mother, Rodrigo Sorogoyen
Skin, Guy Nattiv (WINNER)

Documentary Short Subject
Black Sheep, Ed Perkins
End Game, Rob Epstein, Jeffrey Friedman
Lifeboat, Skye Fitzgerald
A Night at the Garden, Marshall Curry
Period. End of Sentence., Rayka Zehtabchi (WINNER)

Animated Short
Animal Behaviour, Alison Snowden and David Fine
Bao, Domee Shi (WINNER)
Late Afternoon, Louise Bagnall
One Small Step, Andrew Chesworth and Bobby Pontillas
Weekends, Trevor Jimenez

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