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the breakfast table: An e-mail conversation about the news of the day.

Andy Dehnart, Wesley Morris, and Alex Pappademas

from: Alex Pappademas

What makes James Bond James Bond?

Posted Thursday, April 26, 2001, at 4:30 PM ET

Guys,

Not to beat this topic into the ground, but here goes. One of the things I like about New York is that for every well-funded advertising campaign that blankets the city, it seems like there's an equally concerted ad-busting countercampaign. I don't want to get all Tyler Durden here, but to some extent vandalism--especially the pointed, critical kind, the kind that looks at ads and says, "Are you fucking kidding me?"--seems like a sensible response to life in Manhattan, where public space is commodified to the point that it's virtually impossible to find a flat surface without a commercial message on it.



Sure, the idea of dissenting against the entertainment-state's pervasion of daily life (or some other Tom Frank-with-a-semiautomatic-Sharpie thesis) probably didn't cross the mind of the Beavisesque wag who added the word "Me" to every Blow poster in every station along the F line. (This actually happened.)

But remember the MTV campaign we were discussing? Apparently a few New Yorkers found it offensive enough to merit some sticker-bombing critiques--somebody has defaced a bunch of the "CAN I GET MTV FROM KISSING?" ads with Wheat-pasted fliers modeled on the cigarette pack warning label. They say "PEOPLE'S GENERAL WARNING: Television may cause confusion of mindless entertainment with a deadly disease."

Re the black Bond, I'd buy a ticket, although I don't think Cuba's the right man for the golden gun. But I like the prospect of a black, female, or Tennessean Bond--if there wasn't a British guy in that tux, all of a sudden we'd have an investigation of the nature of Bondness on our hands. What makes Bond Bond? Forget nationality--give some cocky screenwriter a license to strip away the Bond props we've become accustomed to, at least temporarily. Would there be any essence left if you took away his ride, stripped Q off the speed dial, slipped him a stirred martini? Austin Powers and the end of the Cold War made Bond into the spy who got kicked to the curb; some Elliott-Gould-is-Philip-Marlowe!-style stunt-casting could save him.

They wouldn't have the guts, of course. When it comes to playing around with mythic characters, comic books tend to wipe the floor with movies--and, counterintuitively, it usually just strengthens the myth. Anything Grant Morrison writes falls into this category. Alex Ross and Jim Krueger's intense, psychologically gnarled "Earth-X" and "Universe-X" books suggest that superheroism, trying to save the world, is essentially megalomaniacal because what actually drives characters like Reed Richards and Professor X is a desire to ensure the persistence of their vision of the world. It's Umberto Eco's Myth of Superman, plus fight scenes!

Some of these issues come up in this Washington Post profile of Phil Jimenez, the gay man who writes D.C.'s "Wonder Woman." A guy who admits that the Lynda Carter "twirl" from the old Wonder Woman TV show was a formative moment in his sexual life is now in charge of the myth of the Amazon Princess. It's kinda cool.

AP

from: Alex Pappademas

What makes James Bond James Bond?

Posted Thursday, April 26, 2001, at 4:30 PM ET
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Andy Dehnart publishes Reality Blurred, works as a Web producer and free-lance writer, and is pursuing a master of fine arts in nonfiction writing. Wesley Morris is a film critic at the San Francisco Chronicle. Alex Pappademas is an editor at Blender, a new music magazine.
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[Notes from the Fray Editor: President Bush on drilling, MTV and the youth market: same situation? Talk to WillV here. Thread your way through all the posts saying yes they do have the ads in Chicago (we know now, OK?) and find some posted lists: Zeitguy's Rools of Cool, Paul Caniff's answers to questions, and Gypsy's theory on disco. Jared White suggests Eggertian rather than Eggersesque. Check out the checkmarks for discussions on criticism and music. For more good stuff on film reviews read in full the fascinating posts from Steve Sailer and Aluminum Man (below). Done all that? Congratulations, you are now a complete popular culture Instant Expert. (Or a Breakfast Table Fray expert--same thing.)]


At the risk of sounding churlish--or rather, gleefully trying to sound churlish--the comment of your "Breakfast Table" writer about the Bush administration--"Essentially, they're politically motivated cowards" [Monday's entry]--demonstrates an acute lack of insight into, well, one of the great features of civilization. Politically motivated bravery is usually a suspect virtue--it led Napoleon into Russia, Hoover into a principled stand against "hand-outs," and Tom DeLay into being Tom DeLay. The real problem is that the Bushies face no bullying from the other side of the aisle: nobody who is willing to demagogue them, dog them, and dice them into the neutered conservatism which was Jr.'s daddy's trademark. In the weird mores of Washington, the dogger/dicer really doesn't have to have a national constituency--just a nasty taste for institutional infighting. If only Wellstone had Gingrich's taste for lowmindedness.

--Roger

(To reply, click here.)


Having recently become the film critic for United Press International, I've been thinking a lot about these issues. The biggest problem with movie reviews in general is that reviewers are so homogenous--almost always male, white, upper middle class, with a grad degree in humanities or liberal arts, urban, high IQ, intellectual but not hugely logical or well-informed about things beyond the cultural realm like business or science or sociology, and extremely opinionated--that the tastes of huge demographic groups get ignored. I fall in most of those categories, too, but coming at a rather late age to this trade, I just don't as often experience anymore the testosterone surge that makes me want to shove my opinion down the throats of people who aren't like me.

For example, women. Over the years I've noticed that women generally don't like the same movies I like. That used to offend me greatly. I figured I could cure women of their bad taste in movies by exposing them to the really good stuff (i.e., what I liked) and explaining to them--over and over again--why it's better than the crap they liked. Slowly, though, I grew to respect women and their tastes more. I also learned that lots of other people aren't as smart as me and that making them watch what I liked to watch wasn't going to make them enjoy it more. Now, I take steps to help put myself in other peoples' shoes...

--Steve Sailer

(To reply, or to read this post in full, click here.)


Most Tom Green fans (and I'm not one of them) will have already decided to see Freddy Got Fingered a long time ago, and nothing that reviews have said (or will say) makes any difference. The same is true of the upcoming Lord of the Rings trilogy or the last installments of the increasingly awful Star Wars series. In fact, contrary to what the Breakfast Tablers are suggesting, I think most people have their minds made up about whether or not to see any given movie long before reviews hits the stands.

What informed, thoughtful, articulate critics can do is make us see, hear and understand things in movies that we otherwise might miss. They can challenge us by forcing us to examine elements that we might otherwise pass over, and make us look at a movie from a perspective perhaps unlike our own.

--Aluminum Man

(To reply, click here.)

(4/25)





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