The Simpsons is a television series and endurance comedy project undertaken in large part by alumni of the Harvard Lampoon, which is just like any college humor rag, except it’s actually kind of funny and also owns a small castle. As might be expected of an erudite corps of writers working on a fairly mundane narrative, the show is most brilliant when it diverges into its trademark digressive realm of vignette, parody, and allegory. One such moment takes place in this week’s show (“Married to the Blob”): a minute-and-a-half long homage to the retiring Japanese director Hayao Miyazaki, perhaps best known to American audiences for Spirited Away (2001), and the Studio Ghibli he co-founded. It’s an excellent bit, but there’s something amusing about a show that has outrun its creative lifetime many times over memorializing a man whose work continues to prove groundbreaking. (As Apu, the maybe-racist Indian character, exclaims at the end of the Miyazaki clip: “Ruined by whimsy!”)
For more on the specific references to Miyazaki’s oeuvre in the spot, Slate has produced a helpful video annotation. Miyazaki’s final film, The Wind Rises, opens in February, but, in the meantime, his lesser-known directorial debut Castle of Cagliostro (1979) has been one of the more impressive free offerings on Hulu for some time.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.