Andrew Hultkrans

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  print February 2023

  ARREARS VIEW MIRROR

  PLUS ÇA CHANGE . . . As we witness the popping of an asset bubble inflated by a smooth-talking quant with big hair, it’s nice to be reminded that we’ve been here before. Slightly more than three hundred years ago, having fled a murder conviction in England and gambled his way through Europe, roguish Scot and innovative economist John Law arrived in France with, shall we say, disruptive ideas regarding currency. A biographer of the period described him as “handsome, tall, with a good Address, and . . . a particular Talent of pleasing the Ladies”: I picture Law as a young, Bond-era Sean Connery

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  film October 21, 2019

  The Longest Doomsday

  THE VOICE-OVER EPIGRAPH to Paul Thomas Anderson’s Magnolia (1999)—“We may be through with the past, but the past is never through with us”—could also serve for Lost and The Leftovers cocreator Damon Lindelof’s remix of Watchmen, a new HBO series based on Alan Moore and Dave Gibbons’s multigenerational, self-deconstructing superhero comic from the 1980s. It is about the eruption of long-buried secrets, relationships, grudges, and atrocities into the present—a present very different from our own, save for certain recognizable details, artfully exaggerated in the tradition of near-future dystopias.

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  diary April 30, 2018

  The Call of the Mild

  IF 2016, WHICH BEGAN WITH THE PASSING OF DAVID BOWIE and ended with the election of Donald Trump, felt like a year of death—of beloved musicians, celebrities, and democratic values—2017 was a year of outrage, not least in the art world. It started with fierce debates sparked by the Whitney Biennial’s inclusion of Dana Schutz’s painting Open Casket, 2016, a partly abstracted representation of the murdered, disfigured body of Emmett Till in his coffin; continued with the removal from the Walker Art Center’s Sculpture Garden of Sam Durant’s large outdoor sculpture Scaffold, 2017, intended to

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  film June 14, 2017

  Scum Manifesto

  SCUM (1979), A CONTROVERSIAL, bare-knuckled UK prison drama directed by Alan Clarke, is set in a “borstal”—somewhere between a reform school and a juvenile detention center—populated by the type of irredeemable, heavily accented delinquents Morrissey romanticized in songs like “Suedehead” and “Last of the Famous International Playboys,” rakish street hoods with hidden (or merely imagined) sensitive streaks. But there is no glamour here, even of a roughneck or rough-trade variety (it is far from Genet), and boys who evince any kind of vulnerability tend to commit suicide, in one case, after being

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  film May 26, 2017

  Fig Leaves

  AMONG THE NEARLY EXTINCT COMMUNITY of classic jazz purists, my uncle was relatively well known. Working under John Hammond at Columbia Records in the early 1960s, he produced the seminal reissue LP King of the Delta Blues (1961), a compilation of ’30s recordings by Robert Johnson that, along with Harry Smith’s Anthology of American Folk Music (1952) was a Rosetta Stone of the ’60s folk revival. His real love, however, was jazz, specifically early jazz—original Dixieland through the big-band swing era of the ’30s and early ’40s. He thought that bebop—the frenetic, highly improvisatory, small-band

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  film May 05, 2017

  Leaks and Geeks

  “INFORMATION WANTS TO BE FREE.” This cyberpunk maxim, originally uttered by Whole Earth Catalog publisher Stewart Brand in conversation with Apple’s Steve Wozniak at the 1984 Hackers Conference, rarely comes up in discussions of the character and motivations of Julian Assange, the editor in chief and global face of WikiLeaks. Assange has been an activist “publisher” for so long now that it is frequently forgotten he was originally a hacker—a very sophisticated one. Operating under the pseudonym Mendax from the late 1980s to the mid-1990s, Assange successfully cracked the US Department of Defense

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  diary April 28, 2017

  Here Comes the Judge

  “THERE’S NOTHING THEY WON’T DO to raise the standard of BOREDOM.” When I was living in San Francisco during the 1990s, this sentence caught my eye as I passed a flyer stapled to a telephone pole. Printed on yellow paper, the flyer contained two rectangular comic panels. In the first, a short-haired woman in mod ’60s attire walks through a boutique, grimacing as she says the line. A sidebar to the panel read “In our spectacular society where all you can see is things and their price . . . ,” leading one’s eye to the second panel, where a bar at top continued, “Ideology tries to integrate even

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  diary April 11, 2017

  Fake It till You Make It

  DURING SATURDAY NIGHT LIVE’S initial 1970s run, Dan Aykroyd starred in a skit parodying newspaper entrepreneur Charles Foster Kane of Citizen Kane (1941), a thinly veiled speculative biopic about real-life newspaper magnate William Randolph Hearst, known for his papers’ yellow journalism. The film was directed by Orson Welles, who prior to coming to Hollywood had made national news with his 1938 War of the Worlds radio broadcast, in which actors pretending to be news announcers breathlessly reported the landing of spaceships in New Jersey. The broadcast was simply an imaginative recasting of

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  film December 14, 2016

  That Joke Isn’t Funny Anymore

  SPOILER ALERT: At the end of Beavis and Butt-Head Do America (1996), Mike Judge’s animated film featuring the unholy fools he unleashed via MTV in 1993, President Bill Clinton invites the titular boys into the Oval Office, makes them honorary ATF agents, and tells them that they will one day become “leaders of America.” Well.

  On November 9, 2016, this joke, not particularly funny to begin with by B&B standards, suddenly became dire prophecy. Judge made the point more explicitly in his later live-action film Idiocracy (2006), about a dystopian future society populated by mentally and culturally

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  film September 22, 2016

  Stone’s Throw

  FEW DIRECTORS ARE AS POLARIZING as Oliver Stone. The three-time Oscar winner has been characterized as everything from the bravest living American filmmaker to a muddled rent-a-rad, always first in line to stump for the latest lefty cause du jour, who is willing to parody his own predictable attitudes on The Simpsons. Those who defend Stone usually reach for his highlights from the 1980s—Salvador (1986), Platoon (1986), and Wall Street (1987)—or his early screenplays for Midnight Express (1978) and Scarface (1983). While acknowledging the extraordinary cultural penetration of Scarface (as

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  film May 10, 2016

  Faulty Tower

  AS REAL ESTATE BECOMES A LIVING NIGHTMARE in cities like London, New York, and San Francisco, it seems a good time to revisit novelist J. G. Ballard’s fictional nightmare of real estate, High-Rise, recently made into a film by British director Ben Wheatley. A pitch-black social satire typical of its author, the 1975 source novel concerns a state-of-the-art, high-tech apartment building—all mod cons and then some—whose residents quickly slide into violent and sexual depravity, losing touch with the outside world, as its conveniences begin to malfunction.

  Ballard was interested in situations where

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  diary February 29, 2016

  Apples and Oranges

  ONE OF THE PERILS of political art is that it stays still as politics, trumpeted by the daily news, marches on. Laura Poitras, the Pulitzer- and Oscar-winning documentary filmmaker whose “9/11 Trilogy” culminated in CITIZENFOUR (2014), a fly-on-the-wall account of Edward Snowden’s disclosure of the National Security Agency’s family jewels, opened her first art exhibition, “Astro Noise,” at the Whitney Museum on February 5.

  During “Surviving Total Surveillance,” a sold-out panel discussion held at the museum the day after the opening, Poitras said that she finds the straight news approach to