The cast of “Saturday Night Live” spoofed Netflix’s voracious appetite for content in a memorable skit last December. Cast member Beck Bennett narrates a sardonic ad: “Our goal is the endless scroll. By the time you’ve reached the bottom of our menu, there’s now shows at the top, thus the singularity will be achieved.” The sentiment can ring true.
“We’re looking at art here as a way of providing some communication about what the experience was and allowing for conversation to occur,” says Paul Murray, manager of the new Journeys Onward exhibit at the Wickford Art Association.
“The Marvelous Mrs. Maisel” may be Amazon’s golden ticket yet again.
Paris may be la ville en rose, but Newport has received the rose…The Bachelorette’s that is.
Storytelling often uses the past as a tool to imagine otherwise: to create other communities or futures. Rebecca Miller’s Personal Velocity: Three Portraits (2002) takes up this work, and does it beautifully, creating a triptych that focuses on three young women who are all at a turning point in their lives.
“They look like my wife’s hair,” David Strenio said as he guided the cavatappi pasta cascading from the extruder in perfectly formed ringlets.
Part of what makes Cam exemplary–so disorienting, and so resonant–is that it sets out to dismantle genre conventions, and asks the viewers of the film to do the work of self-examination.