During Lynch’s Blue Velvet, Twin Peaks heyday, I was living down in the City of Exquisite Sensibilities, and the Ex-Sen-ers loved Lynch. Precisely for the ‘weirdness’, for the cinematic referentiality. Their infatuation displayed what I always found the most indicative trait of their own naïve and superficial tastes – the utter insensitivity to content. (Not to digress, but the lack of attention to content and disregard for it also characterizes their other favorite spiritualizer of reaction, Joseph Campbell.) Just like the voluminous self-performances in the positive views on Lynch at that last link.
Lynch’s deep, manifest contempt for people, his imputation of an innate will to violence and power of destruction (the translation of litter into plague!) does not justify itself. It takes itself for granted. I find that posture of self-evidence the most deeply conservative and repugnant aspect of his movies. Worse yet that it escapes the notice of theoretically and rhetorically skilled critics, let alone the exquisite, but less sophisticated wannabes. From this perspective, racism would be completely consonant with his bestial (Hobbes? Social-Darwin? Just how backwards? I’m missing a nuance here) preconceptions and with his ideologically conventional, even stereotypical narrative formulations. In fact, it would be more surprising if it were absent. The exquisite sensibility thrives on self-flattery, and that subjective self-cultivation seems to flourish through the channels of moral voyeurism and ironic genericity. I suppose we could argue that the subject producing/produced by Lynch’s vision is the sublimation of self-disgusted monstrosity into self-congratulatory ‘aesthetic’ elevation. Or to try one of those tricky pomo-isms, a(l)ttitude.
During Lynch’s Blue Velvet, Twin Peaks heyday, I was living down in the City of Exquisite Sensibilities, and the Ex-Sen-ers loved Lynch. Precisely for the ‘weirdness’, for the cinematic referentiality. Their infatuation displayed what I always found the most indicative trait of their own naïve and superficial tastes – the utter insensitivity to content. (Not to digress, but the lack of attention to content and disregard for it also characterizes their other favorite spiritualizer of reaction, Joseph Campbell.) Just like the voluminous self-performances in the positive views on Lynch at that last link.
Lynch’s deep, manifest contempt for people, his imputation of an innate will to violence and power of destruction (the translation of litter into plague!) does not justify itself. It takes itself for granted. I find that posture of self-evidence the most deeply conservative and repugnant aspect of his movies. Worse yet that it escapes the notice of theoretically and rhetorically skilled critics, let alone the exquisite, but less sophisticated wannabes. From this perspective, racism would be completely consonant with his bestial (Hobbes? Social-Darwin? Just how backwards? I’m missing a nuance here) preconceptions and with his ideologically conventional, even stereotypical narrative formulations. In fact, it would be more surprising if it were absent. The exquisite sensibility thrives on self-flattery, and that subjective self-cultivation seems to flourish through the channels of moral voyeurism and ironic genericity. I suppose we could argue that the subject producing/produced by Lynch’s vision is the sublimation of self-disgusted monstrosity into self-congratulatory ‘aesthetic’ elevation. Or to try one of those tricky pomo-isms, a(l)ttitude.
Uh, pardon?
I get what he's trying to say (and I assume that the writer is probably male) in theory, but it's really incoherent and generalises unpleasantly. Lynch is perfectly capable of writing and directing a narrative devoid of violence and misery, as The Straight Story demonstrates, and while there is a fascination with the dark side of the human psyche and how it is obfuscated in culture, he doesn't strike me so much as a misanthrope per se as much as he does a bemused outsider in the vein of, say, David Byrne. He likes putting dreams on film, and those dreams are of dark and troubling things, influenced by detective movies and sitcoms and French media critique from the '60s.
Eat the rich. Eat Richie Rich. Eat the mansion. Eat the estate. Eat the cars and the ponies and the goats. Eat the country. Drink the ocean. Eat the continent. Eat the planet.
Come to think of it Burroughs and Lynch are similar.
They were both mystic surrealists who from what I understand take "live and let live" to fanatical degrees. Both get accused of being hateful and fascist too.
That said, the bit about Lynch saying something about how "This country's in trouble when human scum can walk across your lawn without getting shot" is very ehhhhhh and I have seen too much of the ill effects of the Castle Doctrine to let it slide.
I was downstairs trying to get an old DVD player going over the weekend, and one of the discs I tried was a My Little Pony DVD my niece got with a toy when she was really, really little.
The DVD in question is "The End of Flutter Valley", which turns out to be the pilot movie for the MLP segment of My Little Pony 'n Friends. G1 ponies are weird, man. The music sounds just like Muppet Babies, and I swear there was a pony in the opening scenes of this movie that sounded exactly like Bart Simpson.
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
It amuses me that they were distributing G1 episodes with toys recently enough for it to be on DVD.
Smee, Maiman, Doktar, Pavelier, Button-Lee, Juan Ovyu
By the way, I was thinking of making some April Fools stuff tomorrow but I decided I won't. I will dedicate the whole day to celebrate Chargeman Ken's anniversary. The Year of Ken
Smee, Maiman, Doktar, Pavelier, Button-Lee, Juan Ovyu
I like it as a so bad, it's good thing, but I also kind of like the art style sincerely. Also some kind soul has translated some more episodes. Ironsharp, you are my greatest ally
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
More people have said that and been killed than there are thorium decay products.
Even when I make a post that the moderators edit and leave a comment on, I think the moderator edit is a good placeholder, because it's just another way of saying, "Miko went a little overboard again."
Comments
During Lynch’s Blue Velvet, Twin Peaks heyday, I was living down in the City of Exquisite Sensibilities, and the Ex-Sen-ers loved Lynch. Precisely for the ‘weirdness’, for the cinematic referentiality. Their infatuation displayed what I always found the most indicative trait of their own naïve and superficial tastes – the utter insensitivity to content. (Not to digress, but the lack of attention to content and disregard for it also characterizes their other favorite spiritualizer of reaction, Joseph Campbell.) Just like the voluminous self-performances in the positive views on Lynch at that last link.
Lynch’s deep, manifest contempt for people, his imputation of an innate will to violence and power of destruction (the translation of litter into plague!) does not justify itself. It takes itself for granted. I find that posture of self-evidence the most deeply conservative and repugnant aspect of his movies. Worse yet that it escapes the notice of theoretically and rhetorically skilled critics, let alone the exquisite, but less sophisticated wannabes. From this perspective, racism would be completely consonant with his bestial (Hobbes? Social-Darwin? Just how backwards? I’m missing a nuance here) preconceptions and with his ideologically conventional, even stereotypical narrative formulations. In fact, it would be more surprising if it were absent. The exquisite sensibility thrives on self-flattery, and that subjective self-cultivation seems to flourish through the channels of moral voyeurism and ironic genericity. I suppose we could argue that the subject producing/produced by Lynch’s vision is the sublimation of self-disgusted monstrosity into self-congratulatory ‘aesthetic’ elevation. Or to try one of those tricky pomo-isms, a(l)ttitude.
I have been following him on twitter for years in the multiple, and that is what I know about David Lynch.
It is very strange.
Almost Lynchian one might say.
It is a great scene in a movie full of great scenes.
They were both mystic surrealists who from what I understand take "live and let live" to fanatical degrees. Both get accused of being hateful and fascist too.
It is someone else's shark I found on twitter.
Let's all celebrate the occasion.
The Year of Ken
Also some kind soul has translated some more episodes. Ironsharp, you are my greatest ally
was i necessary
Page 4767 contains 2 Chargeman Ken episodes, so it's necessary too