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With notable exceptions, I tend to think of most internet comment sections as a kind of hell. In that scheme, YouTube comments would comprise their own circle. But, really, why get angry or upset about YouTube comments when you could simply laugh? Enter … well, YouTube itself, and its new comedy network, Dead Parrot (which I can only assume is named after the legendary Monty Python sketch).
Dead Parrot has teamed up with producer Adrian Bliss to create YouTube Comment Reconstructions. The reconstructions are just that — re-creations of particularly inflamed and idiotic YouTube comment exchanges — except they’re acted out by two well-dressed, middle-aged British men (or men with stellar British accents) who sit in shadowy domestic interiors populated with high-backed armchairs and baroque chandeliers. The skits are done in black and white, with classical music or the ominous sounds of a rainstorm accentuating the verbal spars.
Actors Grahame Edwards and Eryl Lloyd Parry (with occasional appearances by Anthony Sergeant) play up their accents to the point of absurdity, and their old-fashioned, Masterpiece Theater-inflected pronunciations ring out with particular gusto on the word “fuck,” which, as you might expect, gets used a lot — for instance, in explaining that “I fucking love kittens” or in calling the other person “fucktarded.” There are more gems: the careful enunciation of the word “Belieber,” one of the men holding up a glass of brandy and dropping a “win!,” or (my favorite) a third man appearing in the doorway as a spam commenter, earnestly touting the thousands of dollars he earned by “working ten hours a week online! I couldn’t believe it once I tried it!”
If the idea for the series seems a little obvious in retrospect, that doesn’t make it any less hilarious — a welcome reprieve for anyone who spends (as I do) far too much time online.
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.