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Sujet Bret Easton Ellis : "Why the Teletubbies are evil !"

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Sujet de la discussion Bret Easton Ellis : "Why the Teletubbies are evil !"


THE BIG ISSUE
Why the Teletubbies are evil. The shocking truth by Bret Easton Ellis.

There is a children's TV program that takes place under gray English skies where a sun with the face of a baby so adorable he must be computer-generated rises as a tinny march plays on the soundtrack.
And then the Teletubbies appear--four blobs, performers in costumes, each a different color of pale frosting with defining antennae flopping on top of their heads--cavorting and frolicking in an astroturfed wasteland, a barren miniature golf course. They take karate stances for no apparent reason. They carry purses. They have names like Dipsy and Tinky-Winky. They have smooth, ageless, simian faces. They speak in sentence fragments and clipped phrases, sounding vaguely like giddy Japanese waitresses who work at the sushi bar in Hell. Sometimes they interact with a narrator who asks urgent questions along the lines of, "What's in the bag, Tinky-Winky?"

Like toddlers, the Teletubbies are amazed by balls, pieces of felt and plastic food. Holding balls, pieces of felt and plastic food. Holding hand while dancing around a plant is an especially popular pastime. Toys are put in bags and then pulled out of bags with great fanfare and encouragement. Minutes go by as the Teletubbies fall over while the sun looks down on them and squeals with delight. Sober, straining to pay attention you have no idea what's going on. Imagining the performers in those suits making "tubby custard," tasting "tubby toast" and trying on hats can move you to make yourself a very large drink.

Teletubbies share this space with giant, motley rabbits that are real and lumber toward plastic flower beds (one insider tells me the rabbits are as large as "small lambs" and are "bred especially" for this show). Farting noises commence, periscopes pop out of astroturf, a pinwheel dispenses sparkly rays causing the Teletubbies to huddle and spaz out, and that's when the gray squares on their bellies start glowing.

These Oompa Loompas on acid are actually living televisions--all proudly baring a screen embedded in their stomachs, which flash to life, showing short films of real children acting disconcertingly like Teletubbies--attempting gymnastics, zipping up bags, closing and opening drawers, deciding what to wear, singing mindlessly, hiding from each other (actually what any number of my friends in Manhattan do on a daily basis). This documentary footage reminds you of the thin line between the speech patterns of children and total drunks.

Though it lacks the forced, noxious gaiety of Barny, Teletubbies seems like a wicked satirist's idea of a horrible children's program watched in a future concocted by Huxley or Orwell or Gibson. They are reminiscent of the mutants in David Cronenberg's The Brood, and you can only stare and think: well they must have been designed to upset us. It's a dare. Marilyn Manson's calculated shock tactics seem phony compared to these psychedelic teddy bears (a warning: do not play The Dope Show over Teletubbies with the volume off). I would actually rather have my kids watch Taxi Cab Confessions or Deliverance.

The soothing tones, the eerie quiet, the New Agey vibe, the immaculate surfaces, everything so anal and controlled and antiseptic, a world where even the spontaneous seems rehearsed, the sheer humorlessness of it all--is what makes Teletubbies so creepy and emlematic of the new mothers and fathers of my generation.

Part of my resentment stems from the fact that I'm at an age where the majority of these friends are having children and settling down and this intrudes upon my bachelor lifestyle: dinner reservations are now made at seven, wilder invitations are bypassed, casual indignation about drugs and movie violence (these from former addicts, dealers, nymphos). But part of it stems from the hypocrisy of adults--the creators of Teletubbies and the scared, thoughtful parents plopping their kids in front of the tube--who over-identify with children and want the world baby-proofed. Adults who want the world to conform to their own notion of safety.

There was a mad, anarchic quality to Sesame Street--wit and sass were in abundance--in the late 60's and early 70's. The puppets were boisterous and often confused and fed up with the adults (authority figures) surrounding them. There were skits, rock songs, a general air of messiness that is conspicuously absent from Teletubbies and which makes it such odious time when cultural artifacts are stripped down to such an essential dumbness that people can locate a purity and familiarity they find soothing. Comfort abounds. Get Zen! Zone out! Sshhh.

One gets the feeling that if the Cookie Monster or Oscar the Grouch entered Teletubby land, their uncontrollable natures would compel the Teletubbies to club the living shit out of them and have the giant pinwheel make their muppet corpses disappear.

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Afficher le sujet de la discussion
11

Citation : Ellis, Despentes, le porno, ... si on creuse dans la matière-même, assoient leurs formes prétendument scandaleuses ou libres sur une idéologie crispée, avec des "valeurs", voire réac. C'est souvent étonnant ça...



Tout a fait. Et c'est meme cette contradiction qui justifie encore plus l'existance de telles oeuvres aujourd'hui, c'est le reflet quasi formel de la société actuelle :clin: :bravo:

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12
Strictement, Bateman est qd même coupable de quelques crimes (parce que le regard extérieur et objectif d'un des personnages - dont j'ai oublié le nom - est là pour le prouver)
http://khoral.blogspot.com
13
Stavro tu as admirablement retranscrit ce que je ressentais, sans trop savoir comment le formuler, à la lecture de la diatribe de BEE (pas très bien écrite d'ailleurs) : une forme de nihilisme inversé (en termes nietzschéens), des forces réactives provenant de celui-là même se rêvant contempteur incolore et apolitique d'une société malade. Ellis (comme les autres) se veut clinique : "regardez, j'expose", mais reste un écrivain moral (façon 18ème).
14

Citation : c'est le reflet quasi formel de la société actuelle


Oui, malheureusement... J'en attends plus. Mais est-ce si eloigné de Sardou que je trouve obscène ?
15

Citation : une forme de nihilisme inversé


C'est sûr que l'on ne se place pas à la même hauteur que "Hurlements en faveur de Sade" (puisque tu as l'air de l'aimer).
16
Stavro > Michel Sardou ? Franchement, je sais pas quoi repondre a ca...

Tout ce que je sais c'est que j'ai aimé ce que j'ai lu d'Ellis, alors que je peux pas piffrer Sardou et ses textes...

Apres savoir de quel bord politique, quelle appartenance sociale, quel etat mental etc... Bof ? M'en fous ? :D:

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17
Moi en tous cas je suis d'accord sur la comparaison avec "rue sésame"
Avant c t quand meme plus funky, c'etais moins du préformatage comme ces teletubbies et autres niaiseries...

Allez mettez leur un pti ken le survivant a l'ancienne :lol: :mdr:

**Number-6**
18
Dans le genre formaté, ken, c'est très fort :clin: Mais hilarant, c'est vrai !
19
Les dialogues de ken avaient été bien bidouillés a la vf :lol:

Hokuto a pain et autres nanto de fourrures...

**Number-6**
20
C'est vrai que ct pas très moral non plus, surtout en VO.