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Download Chuck Klosterman on Film and Television by Chuck Klosterman PDF

By Chuck Klosterman

From Sex, medicinal drugs, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are on hand during this booklet assortment for lovers of Klosterman's writing on movie and tv.

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Sample text

That illusion started to crack in RW 3. That’s also when the show’s mentality started to leak into the social bloodstream. The reason this occurred in San Francisco is because two of the housemates, Puck and Pedro, never allowed themselves to slip into The Real World’s fabricated portrait of reality; they were always keenly cognizant of how they could use this program to forward their goals. , personalizing the HIV epidemic), self-aggrandizing (he was doggedly focused on achieving martyrdom status), or a little of both (which is probably closest to the mark).

Coincidentally, both of those guys were cartoonists. But the larger issue is that they were both liberal and sensitive, and they were both likely to be the kind of guy who would fall in love with a female housemate who only perceived him as a good friend. This is exactly the person Judd became; there is now a famous13 scene from that third season where Judd is rowing a boat and longingly stares at roommate Pam and her boyfriend, Christopher, as they paddle alongside in a similar watercraft. Months after the conclusion of RW 3, Pam broke up with Chris and fell in love with Judd, which is (a) kind of bizarre, but mostly (b) exactly what MTV dreams of having happen during any given season.

And what’s disheartening is that The Real World is so consumed with creating racial tension that it often makes black people look terrible: If your only exposure to diversity was Coral and Nicole from the 2001 “Back to New York” RW cast, you’d be forced to assume all black women are blithering idiots. This is partially because the only black characters who get valuable RW airtime are the ones who refuse to talk about anything else. It’s the same situation for homosexual cast members—their Q factor is completely dependent on how aggressively gay they’re willing to act.

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