I am Edie Sedgwick and this is my little corner of the web.
A room of my own where I gather my thoughts and explore my aesthetic.

I saw Superbad (2007) in the theater last night. Superbad was occasionaly hilarious, but unexpectly dark. At some points (“cool” cops strategize to cover up drunken rampage, numerous fistfights break out at coke party, pedophile runs over main character in parking lot), the film was decidedly unfunny. The 40-Year Old Virgin and Knocked Up(2007), producer/wunderkind Judd Apatow’s two other critically-hailed works, were better-crafted, though—in their bizarre takes on pre-marital sex and abortion—conservative and terrifying.

If there is a difference between Superbad and Porky’s (1982), I am hard-pressed to understand that difference. Just because a film is made by a “sensitive, smart” producer fetishized by NPR doesn’t mean it is not an anti-feminist pseudo tit-flick. In a pivotal scene in Superbad, a drunken partygoer menstruates on a main character’s leg while “freaking” him on the dancefloor. This was funny. However, the message—“mestruation is gross”—is offensive.

A gentlemen sitting behind me in the theater yelled “Faggots!” at the screen when Superbad’s two main characters explored homoeroticism for laughs. “If them faggots kiss, I’m leaving,” the man remarked. After the film, his comment led to a discussion about my own use of the word “faggot” and phrase “that’s gay.” I declared that my use of these homophobic slurs might be “sensitive” and “smart” but, ultimately, was offensive. However, I will continue to say “faggot” and “that’s gay” when I feel the setting is appropriate and no one will be offended. This begs a question: if you say “faggot” in the forest where no one is offended, did you engage in hate speech?

This question is fascinatng for a minute but, like all “Zen” paradoxes, is ultimately revealed as tedious.

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