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Tag: Alex Consani

  • Alex Consani’s Declaration, “Being in a Relationship is Fun, But, Like, So Much Work,” Is Indicative of a Much Bigger Zeitgeist in Dating and Monogamy (RIP)

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    Although Amelia Dimoldenberg has had many guests on for Chicken Shop Date this year, among the most memorable still remains Alex Consani. Not just because she has the blasé “audacity” to say she’s from California so she doesn’t know geography (a.k.a. California is the only geography worth knowing in the U.S., or at all), but because, despite the overall “premise” of Chicken Shop Date (tongue-in-cheek or not) being about Dimoldenberg’s bid to find “true love”—or at least a “steady” someone—Consani disinterestedly declares, “Being in a relationship is fun, but, like, so much work.” 

    This statement might seem “innocuous”/intended to be “cute” enough, but it’s telling of something larger. Particularly amongst those in Consani’s generation (Z, in case you couldn’t guess). And that is, of course, that the pervasive sense of entitlement/a “me first” philosophy/narcissism in general has reached such a zenith that most people of “dating age” really don’t see the point. And besides that, why bother when everything is on demand at the touch of a button (or swipe of a screen)—dick and pussy included? Hence, Consani has effectively announced what has been quite evident for the past several years, which is that Gen Z, and even many beyond that generational boundary, are rejecting the notion of what a “conventional” relationship used to mean. And yes, to a certain extent, what Consani is saying isn’t exactly groundbreaking or “revolutionary.” In fact, Whoopi Goldberg already said it all with her 2016 quote, “I’m much happier on my own. I can spend as much time with somebody as I want to spend, but I’m not looking to be with somebody forever or live with someone. I don’t want somebody in my house.” 

    It was that final line in the quote that launched a thousand memes, with many of them including the text, “Whoopi Goldberg on Marriage: ‘I don’t want somebody in my house.’” Goldberg herself is a baby boomer, and her feelings about “needing” a man (or rather, not needing one) have also become increasingly common within a generation that represents one of the heights of what was once considered “traditional values.” But for an increasing majority of women, particularly those who are within a certain income tax bracket, the “point” of a relationship has only diminished in value over time. 

    Here, too, it can be argued that Candace Bushnell was the first modern “revolutionary” to put a spotlight on this reality in her “Sex and the City” column, writing, “For the first time in Manhattan history, many women in their thirties to early forties have as much money and power as men—or at least enough to feel like they don’t need a man, except for sex.” And no, that comment is certainly not specific to Manhattan. What’s more, it seems that, increasingly, men are scarcely “required” even for sex, what with the many advancements in the world of self-pleasure and fertility. Moreover, men most definitely have their pick of ways and means to get what they want out of a woman (ersatz or otherwise) without ever having to “date” her (see also: the rise of sex robots). 

    At another point in one of Bushnell’s columns, she quotes one of her friends saying, “Love means having to align yourself with another person, and what if that person turns out to be a liability?” To be sure, the number one way that a person can be a “liability” to someone else is financially. Think: romance scams. Then, of course, there’s a different kind of investment that occurs when one attempts being in a “traditional” relationship: an emotional one. 

    And when, often inevitably, that sense of emotional attachment/investment goes bust, it can leave the person who got more burned in the relationship kicking themselves for putting so much time and effort into nurturing something that didn’t “pan out.” Something that couldn’t last. Indeed, more and more, it appears as though younger generations are having the spell of “forever” broken not only by cold, hard reality, but the virtual absence of the same steady diet of rom-coms that were once fed to previous generations, including millennials. Without such propaganda to “promote the lie” anymore, it has become even more of a challenge to convince people that “true love” or “eternal love” is actually “a thing” and not a “capitalist conspiracy” (one that Beyoncé and Jay-Z are still working hard to sell). 

    To boot, someone like Consani is the epitome of what happens when a person grows up entirely on and with the internet. The concept of “real life” or ever being “turned off,” performance-wise, is, thus anathema. A concept that makes it even more difficult to fathom a person’s ability to ever get to know someone in a truly “real” (read: offline) context. In addition to this, there are some who posit that, despite Gen Z being the “loneliest” generation (again, blame the internet) and the one most likely to be single, it isn’t all doom and gloom with regard to the changing face of what a relationship means. As a “generational expert” commented to Newsweek, “[In the future], we’ll [probably] see more communal living, chosen families and alternative relationship structures that align with Gen Z’s values of autonomy and mutual respect. If older generations want to blame Gen Z for killing relationships, maybe they should ask themselves why young people don’t see relationships as a safe or beneficial investment anymore.” 

    Ah, that ugly term again: investment. A word that connotes just how much relationships have come to be seen more as work and less as something rewarding and romantic by sheer virtue of not having to be alone all the time. However, gone are the days when being alone was seen as an undeniable stigma (as further evidenced by the recent series finale of And Just Like That…). In truth, you’re probably more likely to be looked upon as a freakshow in the current climate for being in a committed, monogamous relationship than you would be for “flying solo.” The “work” of the former far outweighing the “fun” of it, as far as Consani’s kind is concerned. 

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    Genna Rivieccio

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  • An Ode to It Girls and Sociopathy: Charli XCX’s “360”

    An Ode to It Girls and Sociopathy: Charli XCX’s “360”

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    In Madonna’s seminal 1990 hit, “Vogue,” she talks about how Rita Hayworth “gave good face.” That’s at least eighty percent of the “job” description of being an it girl (or “internet girl,” the apparent updated version of that term). The other twenty percent seems to be a mixture of wearing over-the-top couture and being photographed at all the right parties. As a self-appointed party girl/internet obsession, Charli XCX knows all about combining the analog and digital elements of what it means to be “it.” And she pays homage to that at the beginning of her latest video, “360” (yet another single that will appear on Brat).

    Directed by ​​Aidan Zamiri, the scene opens on Charli walking down a hallway as she texts back and forth with fellow it girl Gabbriette, who chastises her for being (five hours) late to a place called Skyferrori’s (is that supposed to be a Sky Ferreira reference?) Trattoria. Traipsing into the restaurant, she’s met with the eyes of Rachel Sennott (who technically “collaborated” with Charli on Bottoms) and Chloe Cherry. It’s Rachel who tells her she can’t sing her song just yet, with Gabriette further explaining, “We have to fulfill the prophecy of finding a new, hot internet girl. That’s literally why we’re at dinner.” A little expository, but sure. Chloe Cherry then adds, “Or else our kind will cease to exist…forever.” Annoyed, Charli tries to speed up the process by suggesting, “What about…her?” as she points to the girl at the end of the table—who happens to be Julia Fox. Obviously, that’s a no go as it girls who are already it girls can’t be chosen. Charli then lands on the waitress (if that word is still permissible) and the others at the table aren’t opposed to it. 

    “What do you guys need me to do?” she asks gamely, even if nervously. Fox explains, “See, you actually need to have this, like, je ne sais quoi.” Charli affirms, “Yeah it’s, like, definitely a je ne sais quoi kind of situation.” In other words, no one wants to admit that it’s pure luck and, often, a little bit of nepo baby clout (as Paris Hilton knows from her late 90s/early 00s it girl days). Or, as Gabbriette describes it, “I would say it’s about being really hot in, like, a scary way.” Fox approves vehemently of that definition. With that “sorted,” Charli declares, “I’m gonna do my song now.” So it is that the A. G. Cook-produced notes begin and Charli delivers the manifesto, “I went my own way and I made it/I’m your favorite reference, baby/Call me Gabbriette, you’re so inspired/Ah, ah I’m tectonic, moves, I make ’em/Shock you like defibrillators/No style, I can’t relate.” Just as Sabrina Carpenter can’t relate to “desperation.” She, too, is something of an it girl at this moment, and her song, “espresso,” exudes the same kind of sociopathy that Charli and co. champion in “360.” Complete with the first proper visual from it outside of the “holding court” restaurant setting being Charli atop an elderly man on a gurney in a hospital. 

    Mounting him with her legs spread apart so that his midsection is between her thighs, other it girls soon gather around her (with Gabbriette blowing cigarette smoke right in his face) in between scenes of Charli in the gym jiggling about with a glass of red wine in hand as Sennott and Fox stand on either side of her (the former texting on her phone and the latter vaping while disinterestedly lifting a dumbbell). 

    In another cut back to the restaurant setting, Charli struts toward the table and gets on top of it so she can walk it like a runway. When she runs out of table, the waiters in the restaurant quickly scramble to provide her with more (a maneuver that smacks of this particular 1990 performance) so that she never has to worry about falling or looking foolish for not being able to continue her strut. Not that she ever would worry—because worry is a sentiment that is entirely out of the it girl’s vocabulary. She knows everything she wants will fall right into her lap not just because she’s “hot,” but because it always has before. For anything else to occur would signal some kind of cataclysm in the universe…at least in the it girl’s internet-speak-fueled mind. And when Charli wants to keep walking once the room itself ends, a waiter knocks out the wall for her so that she can. It’s just, like, the rules of what “little people” are expected to do for beautiful and rich ones. 

    The knocked-out wall leads into a room where an ordinary family sits on the couch as the likes of Richie Shazam (in a cone bra corset) and Chloe Cherry pose in the background while Charli keeps singing her song, declaring, “That city sewer slut’s the vibe/Internationally recognized/I set the tone, it’s my design/And it’s stuck in your mind/Legacy is undebated/You gon’ jump if A. G. made it/If you love it, if you hate it/I don’t fucking care what you think.” Ah, that old chestnut that only sounds authentic when Joan Jett says it via the chorus, “I don’t give a damn ‘bout my bad reputation.” 

    Charli continues to cement her own “bad reputation” as she stands before a pair of crashed cars (she is, after all, the creator of an album called Crash) in the middle of an L.A. street where who should eventually appear but none other than L.A.’s number one hater, Chloe Sevigny. A woman that some might call the original it girl if they’re not aware of Edie Sedgwick’s existence before hers (and yes, it’s almost surprising that Edie wasn’t AI-generated at some point within the context of this video—but maybe Charli decided to limit her poor taste to gyrating atop a hospitalized old man). 

    Charli and Chloe then strut down the road together as a random dumpster on fire shows up in the background. Joining their fellow it girls up ahead, the nine women stand together and throw various poses for a nonexistent camera as the fire keeps raging behind them. Perhaps an ultimate metaphor for the fact that, no matter what kind of chaos or tragedy is happening in the world, you can always count on an it girl’s vanity to totally ignore or disregard it. What’s eternally most important is how fierce she looks.

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    Genna Rivieccio

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