Culture
Introducing Terminally Online Lovecraftian Comedy
I experience the existential horror of sci-fi literature in a strange, almost counterintuitive way. While it seems that I’m immune to Lovecraft’s insidious neuroticism, I experience unbound dread and awareness of my own minuteness when I read the sprawling space operas of Isaac Asimov. I always read the former casually tearing through an increasingly decrepit anthology of stories my mother bought me for my birthday one year, but I shudder at the thought of ever touching anything written by H.G. Wells. For me, Lovecraft’s At the Mountains of Madness is a romantic romp through Antarctica’s ancient past, but narratives of intergalactic empires and cyborgs grim reminders that time is running out and everything returns to dust. In my relatively uncreative mind, I used to implicitly assume that these two sides of fiction were never bound to intersect; that changed when I was sifting through shitposts one day and came across, alas, a serious post from Instagram user @theclockspider!
A Few Words About Blowjobs
I could tell he was over it. I could tell that my once-endearing traits had become a nuisance — could practically hear the internal pep talks he’d give himself in anticipation of playing the field again. When Max Freeman finally dumped me three months later, I asked, “why’d you spend the summer with me only to bail come September?” Although Max did not reply, I suspect an honest answer would include “blowjobs.”There’d been a time when Max Freeman thought the world of me. A time when everything I said was so clever and amusing, a time when the sound of my voice was something like silk, but my time would soon be up. He’d begun to drift, and I intended to suck him back into my orbit.
More Pride than Prejudice: Queering Jane Austen in Joel Kim Booster’s Fire Island
As with many Austen retellings, the first line of narration in Joel Kim Booster’s romantic comedy Fire Island (2022) echoes the instantly recognizable first line of the novel to which it owes its plot. “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife,” quotes the narrator and protagonist, the feisty and outspoken Noah, played by Booster himself. “Well, no offence to my girl Jane Austen,” he adds, “But that sounds like some hetero nonsense.” Obviously, Pride and Prejudice’s heroine Elizabeth Bennet, to whom Noah serves as a parallel, would have no idea what that means.
Anna Karenina: Reigning Queen of the Little Black Dress
Audrey Hepburn’s little black dress in Breakfast at Tiffany’s is often cited as the original LBD. This offends me, personally, since Leo Tolstoy’s Anna Karenina was published a full century before that movie came out. Indeed, fans of Russian literature—or, let’s face it, of Keira Knightley—will recall the iconic black dress Anna wore to the ball where she first danced with Vronsky, breaking Kitty’s heart. But what makes Anna’s dress, and Tolstoy’s novel for that matter, so memorable that we still care about it nearly 150 years later?
Taylor Swift’s Midnights: Edgiest Album Yet?
Taylor Swift's Midnights: Edgiest Album Yet?Folklore, coupled with the nostalgia which Taylor Swift’s album re-releases inspired in me, were enough to transform me—a previously indifferent fan—into a full-fledged Swiftie. In the past two years, I’ve devoured Swift’s...
The Twilight Renaissance, and Telling Stories Over (and Over) Again
In a cultural era of movie remakes and Taylor’s Versions, an author choosing to retell their bestselling novel is still a relatively rare occurrence. However, the releases of Life and Death in 2015 and Midnight Sun in 2020 saw not one, but two instances of Stephenie Meyer revisiting her 2005 novel Twilight on its tenth and fifteenth anniversaries. Life and Death provides a genderbent take on the original, with protagonist Bella Swan being revamped as Beau Swan, and nearly all the other characters similarly altered. Midnight Sun, meanwhile, reverts to the original versions of the characters, but tells the same story from Edward’s perspective.
