Corruptions and Duplicates of Form

This post-Wonka kid’s movie about future videogame competition in dystopian cyberspace contains every pop 1980s reference imaginable, including “Blue Monday,” and stuffs them by the handful into a recycling bag like cans worth five cents each. The movie is cynical and manipulative because the ’80s it exploits means nothing to Spielberg. He uses items from that decade because he noticed that’s what kids are into, even though the movie takes place three decades from now. To Spielberg, the digitized fodder of Ready Player One is not truly classic, and can therefore be further trivialized for any reason. If money can be squeezed out of it from an undiscerning audience of nerds, so it should be and must be. Here, Spielberg has truly become Disney.

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https://www.nplusonemag.com/author/rcossipgmail-com/·Aug 20, 2018·1 min read

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Bad Atrocity Writing | Bruce Robbins

Why does writing well about atrocity matter? Because the history of the world, a history that is morally unimaginable without atrocity, needs to be written, rewritten, well written. To know what really happened, to know what it really felt like, we need more sentences that are capable of opening readers to events so horrible that the senses and the memory close down; sentences that open multiple perspectives on those atrocities, even if they seem to allow for only one perspective — sentences that do all this without losing their hold on logic and grammar and, for that matter, their rhythm

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Society as Checkpoint | Gregory Afinogenov

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https://www.nplusonemag.com/author/rcossipgmail-com/·Aug 20, 2018·1 min read

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https://www.nplusonemag.com/author/rcossipgmail-com/·Aug 22, 2018·1 min read

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Piss Trump

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https://www.nplusonemag.com/author/mark-krotovgmail-com/·Aug 17, 2018·1 min read

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<em>Notes on an Appearance</em>

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https://www.nplusonemag.com/author/mark-krotovgmail-com/·Aug 14, 2018·1 min read