What Pop Culture Screams 1997 to You?
The summer of 1997 reflects a time when the Summer blockbuster was trying to transition into the tentpole (so called because they hold up the profit line from all the riskier projects) industry we know today. Natural disaster films like “Volcano” and “Anaconda” and the annual film starring Harrison Ford as a gruff hero of sorts (i.e. "Clear and Present Danger", "The Fugitive", "Patriot Games"), “Air Force One” took up their spaces on the calendar. Efforts to sequalize big hits were burning into the ground with epic failures like “Lost World” and “Batman and Robin.”
It was at this time when the formula was more of a prototype than a sure thing that Barry Sonnenfeld released "Men in Black" from a comic book that was not a well-known existing property. Carrying the biggest budget of the year on a movie this (for lack of a better word) weird might not make sense in retrospect, but it was on the heels of a time when visually idiosyncratic film makers Terry Gilliam and Tim Burton had their biggest commercial successes ("12 Monkeys" for the former; Batman series and "Edward Scissorhands" for the latter). It was as good a time an effort in the vacuum of a working formula to try a blockbuster that was visually weird and stylistically unique. It also had Will Smith and Tommy Lee Jones who always seem to epitomize the 90s for me.
I like to think of myself as a reluctant extrovert, although I am likely not the only person with a duality between getting energy from personal interactions and being exhausted by all the complications therein. As a human-interest journalist, I love the opportunity to dive into unique subcultures what's the luxury of not having to declare myself a part of any of them. That's why being a caterer on the "Party Down" crew seems like a perfect fit. Every gig I take will, at the very least, be eventful for starters. I will be at liberty to partake in the event (the show's in-universe rules will find a way to stretch my fifteen-minute break into full-on party mode) should I desire, but if I'm feeling reticent, my uniform will allow me to stay in wallflower/observer mode without fully committing to being part of the scene. I would also get a lot of enjoyment out of watching my slightly depressed coworkers alternate between flirting with each other and destroying one another's egos.
The one that keeps sticking in my head is “Brazil." Terry Gilliam’s dedication to visual purity often overshadows his extremely inventive storylines and this is one where the balance between the two really shine. Opinions will vary, but this is his first film which could be considered a classic and I would enjoy seeing people discover the idiosyncratic storyteller ascending to a new level of coherence, appeal and complexity in his work. It’s also a film that takes a while to get so the post-film discussion would consist of a lot of “huh”s but it would be a lot of fun piecing the puzzles and symbolism of the film together.
I get confronted with this question every time I desire some comfort TV and tune in to find “Seinfeld” and “The Simpsons” (who the Gods of syndication have been eternally kind to) are pretty much always on. While this wouldn’t be an unpleasant use of a half-hour, I have some strange resistance to revisiting either of the series that came to culturally define the decade in which I came of age. Maybe, it’s an act of rebellion against the perceived quality of these shows: While I tend to rail against hipsterish attitudes of consciously defining your tastes against the mainstream, I can’t help admitting that the high placement of both these shows on best-of-all-time lists drives me to want to define my tastes from this decade differently.
What Pop Culture Becomes More Meaningful as You Get Older?