By Chuck Klosterman
From Sex, medicines, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are to be had during this booklet assortment for lovers of Klosterman's writing on movie and tv.
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Additional info for Chuck Klosterman on Film and Television
At least on the surface, movies and television actively promote dating the nonbeautiful: If we have learned anything from the mass media, it’s that the only people who can make us happy are those who don’t strike us as being particularly desirable. 2 If we all took media messages at their absolute face value, we’d all be sleeping with our best friends. 3 But herein lies the trap: We’ve also been trained to think this will always work out over the long term, which dooms us to disappointment. Because when push comes to shove, we really don’t want to have sex with our friends… unless they’re sexy.
You hear a lot of people say things like they watched most of the first two seasons, or that they watched every season up until Miami, or that they never started watching until the San Francisco season, or that they’ve only seen bits and pieces of the last three years and tend to get the casts mixed up. For most normal TV watchers, The Real World is an obsession that fades at roughly the same rate as denim. 1 Last year, an old friend told me she’s grown to hate the Real World because, “MTV used to pick people for that show who I could relate to.
I’m not interested in trying to understand culture by understanding that particular show, and that’s part of the social contract with appreciating anything artful. You can’t place something into its aforementioned “context” unless you know where (and how) to culturally file it, and I honestly don’t care where The X-Files belongs in the American zeitgeist. Dozens of smart people told me how great this show was, and I’m sure they were right. But I’m satisfied with assuming that program was about two people who mostly looked for aliens, so—as a consequence—the show meant nothing to me.
Chuck Klosterman on Film and Television by Chuck Klosterman