Media: The Prisoner (1967) & Kinky Boots
Actually, the media I've most enjoyed consuming recently was The Prisoner, the classic British weird/genre series from 1967. I had never heard of it until an anniversary post came across my Tumblr dashboard, and I looked it up and was intrigued by the article's comments about its seminalness and aesthetics, so I watched it (it's all on YouTube, and it's only got 17 episodes).
I mean, what little![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
waxjism saw she couldn't even stand, because of the changing television conventions since the 1960s - everything that old seems hokey to her. I like things from that period, though - I grew up on second wave sff that was mostly written in the 60s-70s and watched a fair amount of Nick at Nite for a while. And seeing it and recognizing its seminal quality from the bits of it I'd seen elsewhere was really cool, but it was also SO AESTHETIC (which was hilarious enough to have entertained me all on its own, but it actually was nice, too) and SO CONCEPTUAL (another thing that's very characteristic of the period, but at the end it goes even further off the rails than late season 3 Star Trek TOS, which is really saying something, and then goes even more Allegorical and Symbological in the final episode than CS Lewis) that it was fully worth watching on that basis.
My favorite part was how much the SUPER 60s interiors could have basically come right off a present day interior design blog. That, and how within the context of 60s mid-century modernism, Finnish & Scandinavian bleeding-edge modernist design from the 1930s is associated with the most sinisterly ~high-tech~ Bond villain stuff (when it's actually older than mid-century modernism, I mean).
That was more than a month ago, though. I was just thinking about it the other day when we were talking about all the things we've watched in the past few months - other than the hockey, it's been mostly filled up withwaxjism's horrible movies and my rewatching Lewis when she's not around. When I finish that and the rest of the Morseverse I still need to finish my Poirot rewatch too.
Although! We forgot to mention that we watched Kinky Boots! It was good and I did really enjoy it, but the shoehorned in heteronormativity was very disappointing. I mean, even in a landmark drag queen film with the beautiful and talented Chiwetel Ejiofor - and a film that is about adulthood, father figures, finding oneself, and plotwise about creativity and a struggling small business - what about this said to anyone that it would benefit from, or needed, a het romance stuck into it? Or any romance, actually? Like, there were two main male roles, and they like each other and work together, but they didn't really have a dangerously romantic interaction or anything that needed to be leavened??? And it's not like the whole thing was boring and they needed another B-plot. On the contrary, there was barely time for the romance.
I mean, what little
waxjism saw she couldn't even stand, because of the changing television conventions since the 1960s - everything that old seems hokey to her. I like things from that period, though - I grew up on second wave sff that was mostly written in the 60s-70s and watched a fair amount of Nick at Nite for a while. And seeing it and recognizing its seminal quality from the bits of it I'd seen elsewhere was really cool, but it was also SO AESTHETIC (which was hilarious enough to have entertained me all on its own, but it actually was nice, too) and SO CONCEPTUAL (another thing that's very characteristic of the period, but at the end it goes even further off the rails than late season 3 Star Trek TOS, which is really saying something, and then goes even more Allegorical and Symbological in the final episode than CS Lewis) that it was fully worth watching on that basis. My favorite part was how much the SUPER 60s interiors could have basically come right off a present day interior design blog. That, and how within the context of 60s mid-century modernism, Finnish & Scandinavian bleeding-edge modernist design from the 1930s is associated with the most sinisterly ~high-tech~ Bond villain stuff (when it's actually older than mid-century modernism, I mean).
That was more than a month ago, though. I was just thinking about it the other day when we were talking about all the things we've watched in the past few months - other than the hockey, it's been mostly filled up with
waxjism's horrible movies and my rewatching Lewis when she's not around. When I finish that and the rest of the Morseverse I still need to finish my Poirot rewatch too. Although! We forgot to mention that we watched Kinky Boots! It was good and I did really enjoy it, but the shoehorned in heteronormativity was very disappointing. I mean, even in a landmark drag queen film with the beautiful and talented Chiwetel Ejiofor - and a film that is about adulthood, father figures, finding oneself, and plotwise about creativity and a struggling small business - what about this said to anyone that it would benefit from, or needed, a het romance stuck into it? Or any romance, actually? Like, there were two main male roles, and they like each other and work together, but they didn't really have a dangerously romantic interaction or anything that needed to be leavened??? And it's not like the whole thing was boring and they needed another B-plot. On the contrary, there was barely time for the romance.
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