I saw the following post on WFMU by Brian Turner this morning (which has since has gone missing for some reason), and it confirmed my every fear: Hollywood is DOA.
Hollywood: Two Words
from WFMU’s Beware of the Blog by Brian Turner
That’s right, Beverly Hills Chihuahua grossed $29 million this weekend, taking the top place.
Beverly Hills Chihuahua, Disney’s canine comedy, edged out Shia LaBeouf’s Eagle Eye to take the top spot at the U.S box office this weekend.
The film about a wealthy pooch from Beverly Hills who finds herself lost while on vacation in Mexico stars Drew Barrymore, Jamie Lee Curtis, Andy Garcia, and George Lopez.
North American Box Office Top Ten:
1. “Beverly Hills Chihuahua,” $29 million.
2. “Eagle Eye,” $17.7 million.
3. “Nick and Norah’s Infinite Playlist,” $12 million.
4. “Nights in Rodanthe,” $7.4 million.
5. “Appaloosa,” $5 million.
6. “Lakeview Terrace,” $4.5 million.
7. “Burn After Reading,” $4.08 million.
8. “Fireproof,” $4.07 million.
9. “An American Carol,” $3.8 million.
10. Religulous, $3.5 million.
This is why I look forward to the release of video games, or recent additions to UBUWEB and the Internet Archive. The era of our pop culture as told by Hollywood is dead. The Wire is without question the best series I have seen in the last 20 years, better than anything from Hollywood or even all the other series from HBO. Moreover, the recent sensation over AMC’s Mad Men is over rated in my opinion. I watched the first 9 episodes of season 1, and by the fouth episode was burnt on how “correct” the show is. It tries to implicate the viewer by re-framing all the racism, sexism, and religious intolerance at work in the late 50s, early 60s, yet it is far too academic. It’s argument is clear, and there is none of the moral ambiguity and more complex examination of a system that frames the impossibilities of a moment like The Wire. The push to make sure the viewer doesn’t mistake the 1950s and 60s as the good old days, seems empty when it erases the complex realities of those who lived then, just to capitalize on the issues that make good drama now. I don’t know, Mad Men justs seems like a paper some one wrote about advertising in the golden age, and how screwed up it was from our vantage point, and then decided to adorn it with some two-diminsional characters and turn it into a TV series. A blanket critique of the 1950s and 60s is as much an interpretation of that moment as an unchecked glorification of it, and neither make for a comeplling narrative.