The manosphere is mentioned explicitly for only a few minutes in Adolescence, the wildly popular Netflix show about a 13-year-old boy accused of murdering his female classmate, Katie. Its influence on the withdrawn protagonist, Jamie (played by Owen Cooper), is largely implied. Yet Adolescence’s clear reckoning with the online world that’s shaped him has come to dominate reactions to the series.
At this year’s South by Southwest festival, in Austin, film premieres weren’t the only major events. The buzziest affair, arguably, took place inside a truck: a facsimile of the Criterion Collection’s fabled office closet, bursting with select editions of its deep and idiosyncratic film catalog. For three minutes each, movie lovers could enter the Criterion Closet truck to rifle through the company’s expansive archive of canonical works, plucking DVD and Blu-ray copies to purchase and take home.
In a recent scene from HBO’s The Sympathizer, a communist spy whom we only know as the Captain (played by Hoa Xuande) sits outside a Los Angeles car-repair station, staking out the man he’s planning to kill. His target is a former senior military officer, Major Oanh, who fled with him from Vietnam to the U.S., and who is starting over as a mechanic. When the Captain learns that Oanh is importing expired Vietnamese candy as a side hustle, he confronts him. To his shock, the man embraces him.
Early in FX’s Feud: Capote vs. the Swans, the titular author (played by Tom Hollander) bursts into the palatial apartment of a high-society doyenne. “Tell me everything, from the beginning,” Truman Capote proclaims. A tearful Babe Paley (Naomi Watts) shares that her husband, the CBS impresario Bill Paley, has committed a grave indignity.
On April 21, 1965, three members of the Shangri-Las appeared on ABC’s musical variety show Shindig, their silhouettes faintly visible on the dark stage. With the soft thunk of a bass guitar, one spotlight flickered on to illuminate Mary Weiss, the band’s leader. As she crooned the opening lyrics to “Out in the Streets,” the lights gleamed over her bandmates, Marge and Mary-Ann Ganser, dancing in slow motion.