She was a little girl, about four feet tall, wearing a Cinderella gown. The dress, that perfect shade of icy blue, shimmered and glinted under the sun. But the more I looked at her, the more I saw she it wasn’t just the dress — she herself sparkled.
According to the people of the Internet, Rolling Stone’s new, controversial cover “glamorizes” Boston Marathon bomber Dzhokhar Tsarnaev. And they’re angry. It’s a kind of anger we’re all too familiar with anymore, the kind of sweeping fury that the Washington Post’s Erik Wemple so aptly christens the “tedious outrage machine.” And naturally, it’s a subject to which bloggers and reporters and crazies in their basements are flocking, myself included.
If all goes well, this is the one and only time I’m going to write about Selena Gomez. Because…yeah.
For someone I think about for about roughly five seconds a month, or about the time it takes for me to scroll past her headlines on Google News, she served as the catalyst for an interesting discussion on Twitter last week about celebrity journalism. It was NPR’s Linda Holmes who kicked things off with a tweet criticizing this story about the pop star, and she was quickly joined by Criticwire’s Sam Adams, among others. (Because I’m a nerd, I made a Storify to commemorate it.)
But we all know it’s most likely butter.
It’s a big development for the app, formerly known for its capability to retro-ify still portraits alone. While many are speculating what this means for Vine — or the other app that lets us make short, GIF-like videos — this news poses greater ramifications for us, the 130 million Instagram users and counting, by potentially changing the way we experience the world around us.
(Okay, I only got through eight books.)
The other day, I posted the intro to this post, which is my analysis of Season 4 of “Arrested Development.” (Clearly, I think too much and had to break this up in two parts.) So enjoy Part II:
At this point, I’m a pretty established “Arrested Development” fanatic. The sight of the iconic stair car (the editor in me wonders if that’s one word or two, dash or no dash?) in the title screen was the most heart-pounding moments I’ve had as a fan of anything in years. (Other similar moments: finally holding my copy of The Deathly Hallows, the lights dimming at the midnight screening of The Hunger Games. Seeing two of my favorite things, Tim Burton and Alice in Wonderland, collide onscreen. Oz: The Great and Powerful — which would ultimately let me down. This, however, eclipses all of the above.)
I originally wrote this and my season review as one post. When it got a bit long, I decided to separate the goods: the intro is below, and my thoughts on Season 4 will appear tomorrow.
Everyone wants something. And that’s the case now more than ever.
We’re in a new era of entertainment, one in which we’re asking each other for more than we ever did before, and so far, everyone’s getting away with it.