I’ve gotten in the habit of writing about some of my essays here when they go live, so I thought I’d share some random thoughts about my latest, “‘Sometimes a Bee Can Move an Ox’: Biblical Epics and One Man’s Quest to Promote Jewish Values in Blacklist-Era Hollywood,” now online at the journal Modern American History (MAH), which, in a reflection of the paper’s provenance, still sits in my computer in a folder labeled “Hail Caesar Project.” I like to write these postmortems just to get some of my thinking on the record, so to speak, but if you’ve already read the essay and might like to know a little more, please do read along. Continue reading “Postmortem on My “Hail Caesar Project””→
There’s a kind of fatigue on display in social media these days, at least among the circles that I follow, that suggests people are tired of parsing the deeper meanings and dangerous discourses of popular culture, and it’s manifested in a malaise and backlash to the criticism surrounding Kanye West and Brooklyn Nine-Nine specifically. In the maelstrom, meanwhile, I think some basic premises are being lost. I’m going to enumerate them here, briefly, not because I’m invested in either Kanye or Brooklyn Nine-Nine, but because I think the moment can remind us about what we find valuable about cultural criticism, cultural studies, and other disciplines and methodologies that teach media literacy.
1. It’s ok to like popular culture.
Being a critic doesn’t mean you can’t enjoy popular culture. Roxane Gay reminded us when discussing the new Roseanne reboot that it’s fine to enjoy entertainment that might be nevertheless “problematic.” Critics and scholars exist to start conversation, to open our eyes to new and different ideas, and in terms of poststructuralism and queer theory, to lay bare the ways in which power works through media, and specifically, the way it reveals how that which is understood as normal is in fact contingent, and rooted in histories of chance, opportunity, inequality, and domination. Continue reading “Popular Culture Fatigue”→
Winston Churchill wasn’t a saint—he was anti-labor and pro-imperialism, and responsible for a famine in India and an ethnic cleansing in Kenya. But I don’t need to tell you this. Since the latest Churchill biopic, Darkest Hour, began earning accolades and awards in late 2017, plenty of columns have been written to remind us that Churchill is not worthy of our veneration.
These columns are worth your time if you are not familiar with Churchill biography. But for cultural critics to write solely about what gets left out of our present day American conversations about the British prime minister is to perform a kind of critical dodge. We should be asking: What is it that makes this moment ripe for a renascent Churchill-philia? What is it about the story that is being told about Churchill that seems to be resonating with American audiences and critics? Continue reading “Haunted by Churchill: Civic Nationalism and Churchill-Philia”→
The 2017 film Logan Lucky opened with some relatively good reviews, but I’m surprised at the degree to which the film has been ignored in critical circles. I found the film refreshing, fun, and warm, and I recommend everyone watch it—it’s currently streaming on Amazon Prime. It’s tightly scripted, and has some great performances by Adam Driver, Channing Tatum, Daniel Craig, and even Dwight Yoakam shows up.
But more than all this, I think the film offers a kind of counter-script to a trend in popular culture that is exemplified by the overrated, misanthropic, and lazily written Three Billboards. Logan Lucky is what literary scholars call a carnivalesque—a genre in which hierarchy is overturned as the bottom of society gets to subvert traditional order, often in bawdy and revelrous tones. And the characters of the film do the subverting in the pursuit of a vision of justice that is wholly positive, in contrast with the negative, retributive vision of justice at the heart of Three Billboards.Continue reading “Let Them Eat Logan Lucky”→