Grace’s Manhattan in ‘The Undoing’
“The rich are different,” said Fitzgerald, in a languishing dreamy tone. “Yes,” replied Hemingway brusquely, “they have more money.”
It is difficult not to recall this exchange when watching HBO and Sky Atlantic’s David E. Kelly mini-series
The Undoing, which in this year of an ever more rapid COVID-induced transfer of wealth from the lowest to the highest income brackets, thinks it is giving us, in the guise of a murder mystery, a female emancipation series when in fact it is simply glorifying and asking us to adore the wealthy.
The series illustrates not the triumph of the MeToo movement but the nightmare of what it always threatened to become: emancipation for rich white women, here in the form of Nicole Kidman’s determined stride in a green greatcoat along the avenues of Manhattan’s Upper East Side. Along with that comes its converse, continued eroticizing and exoticizing of minority and working-class women in the f
Morning News on Means TV
The U.S. election has finally been secured with even Donald Trump almost tacitly acknowledging that he lost. In the aftermath, the mainstream media has now swung behind Joe Biden’s return to normalcy. The dominant media opposed Trump, not on grounds that he was a corporate bloodletter who bombed Syria, murdered Iran’s leading general, and laid waste to U.S. natural resources, all actions either applauded or tacitly condoned, but that he was an unfit and buffoonish manager of the empire.
It is only in the world of alternative media that both Trump’s actual crimes and Biden’s “normalcy”–which had the global economy on the brink of a new recession