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Photo: Wilson Webb/Netflix “I looked at the kids like a radio station playing the whole movie,” added Baumbach. “If you happen to call it, they will still go.” In addition to the TV and radio, the children are surrounded by boxes of sugary cereal, frozen foods, sodas and chips – all signs of middle-class junk consumerism. (“Those are all things that I was rejected as a child,” the director confesses.) The conflict in the story between comfort and danger of White Noise was clearly resolved after the grand opening. The outbreak hit New York in early 2020, just as Baumbach began to sketch future scenes for the film. Within months, cracks in the social safety net appeared on television screens: dire images of quarantines, deserted neighborhoods and devastated supermarkets combined with Presidential press conference on bleach and dewormer for horses. The world assumes the terrifying unreality of DeLillo’s airborne poison event. He recalls: “It felt like a movie set, sometimes going into the supermarket — without toilet paper, that was the madness we all went through. “So I had both DeLillo’s supermarkets and what we went through in my mind.” Like Jack and Babette, the middle class in America was suddenly faced with a nervous force that couldn’t be stopped with neoliberal fiscal policy or mood-elevating psychotropic drugs.
It is therefore no coincidence that Baumbach ended up choosing to end the film in a supermarket. “[It’s] the visual equivalent of white noise,” he says of the scene’s surreal singing and dancing routine through the consumables panorama. “But we lost a lot of the “shopping” feeling because of the internet. So I also think of the supermarket as if we were in the internet. That it’s a way of visualizing what we usually do on a screen—a place where everything is right next to each other. Like how you go to university and have Hitler [next to] Elvis because they’re being taught in the same room. It suddenly leveled them out. In a way, they become equally meaningful.” The hallucinogenic colors, synchronized bodies, and sensational theme song of the entire series, powered by an LCD Sound System, evoke the distinctive character of YouTube flash mobs or augmented reality content. , while perfectly reflecting the film’s message of both extreme anxiety and frenzied absurdity. However, it also suggests something about the intimate relationship between people that is shaped by mundane ritual and material culture, even if they are not the most important. In other words, despite the bleak indictments of the modern world, Baumbach’s White Noise retains a measure of redemption, or what Jack Gladney optimistically describes as its ability to “surprise” who we are – that “we keep inventing hope” – even as he wanders the world. aisle to look for more coffee creamer. White Noise is out now in select theaters and streaming on Netflix starting December 30.
We get it—there are simply too many. So this year, we’re giving our editors a last-minute chance to add things that might have been left out. See all the things you really should read, watch, or listen to—as well as more of our year in terms of review coverage—here. In Hollywood, adult quirks considered substantial have long been inextricably linked with cosmopolitanism. Gay-focused TV shows are in dire supply, but even more scarce are gay protagonists who don’t live in New York, LA, or San Francisco. That’s why the HBO series Somebody Somewhere, which takes place in rural Kansas, is such a new movie for me this year. The film stars the bubbly humor Bridget Everett as Sam, a purposeless 40-year-old gay woman grappling with loss as she returns to her hometown, where she finds a strong community. in his openly gay colleague, Joel (played by Jeff Hiller), and a gay choir full of proud misfits.
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