“If Spring Breakers can have any place in our culture, if it can be something worth seeing, its worth must be located in its frightening capacity to capture a world we dismiss as ‘just fun,’ to capture the seductions of a world we refuse to understand.”
The Rapist Next Door: On Harmony Korine’s Spring Breakers by Francey Russell
How much of a mirror are we willing to let Spring Breakers be? In indulging in a nauseating, exhilarating, and absolutely familiar fantasy of American fun, Harmony Korine might be offering the unflinching depiction of rape culture that our national conversation has been needing.
“The first stage of television grief is rejection: when a favorite character is killed off, the desire to distance yourself from a show you love, to disown it, even, is powerful. ‘I’m done,’ you declare firmly.’ I’ve had enough of this crap. They’ve gone too far this time.’ I’ve seen it in a lot of fan communities; I’ve said it (half-heartedly) myself. In the past decade or so, I’ve developed a bad habit of falling in love with a certain type of BBC series, whose writers seem to be collectively united by slim budgets and streaks of cruelty: on one of my favorite shows, three of the five major characters are killed in the span of five episodes; on another, the entire cast of four kicks it in under a season — and it might be worth noting that most of them go violently, too.”
Stages of Television Grief: On the Decline of Downton Abbey by Elizabeth Minkel
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