deux ou trois choses, 28 december 2022
On Sasha Frere-Jones’
Dean Kissick serves us with:It also began to feel like the “future”—the promise of a future that is quite different from the present—is returning to us after a long time away.
Good stuff.
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After watching Glass Onion this week, I was reminded of a Vice piece from a a few months ago, aptly titled “Why Does Everything On Netflix Look Like That?”. Indeed, before that wretched script, the nonexistent characters, it’s the mere hideousness of each frame that renders the film dreadful. They all look fried, every HD closeup is a commercial for a product you don’t want to buy, and the heightened colors bear a resemblance to a kids show, but one of those devilish scammy series on YouTube that no one should be exposed to. The crisp sweaters - and the matching crisp elegance - of Knives Out completely evaporated (“This movie is, I would say, louder than Knives Out,” says David Sims to Rian Johnson on The Atlantic, which is such an understatement that it’s both funny and sad). The most embarrassing visual factor might be the set design: I mean, the garbage-quality plastic furnishing the billionaire’s office was just too much of a metaphor for the whole thing.
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Recently mentioned in
, this tweet is made of screenshots from Amazon: someone used the simulation feature “View in your room” on a hyper-basic product, AA batteries. And while the augmented reality generated image of the battery is legit, the actual room is sus. It’s easy to mistaken it for a screenshot out of a video game. Angles are crooked. Objects, like the little ornamental plate, spread uneasiness instead of warmth.The battery, however, has a spring in its step. It’s dancing to its own tune. Somehow, it’s not pushing a false metaversal promise, that digital simulations look and feel better than the real thing. Instead, it gently invites us to arrange reality in better, jollier ways.