Madmen (2007 - 2015) succeeded as spectacle by opening a window of taboo enjoyment onto the 1950s, when gender roles were unquestionably binary, patriarchy ruled the day, and Jell-o was an entree. Despite Chernobyl’s (2019) unrelenting horror, it offers a parallel window of (imaginary) taboo enjoyment, a window to Francis Fukuyama’s End of History, the spectacle of Totalitarian fragility, and comfort in the unquestionable supremacy of the West.
On the Enjoyment of Chernobyl
On the Enjoyment of Chernobyl
On the Enjoyment of Chernobyl
Madmen (2007 - 2015) succeeded as spectacle by opening a window of taboo enjoyment onto the 1950s, when gender roles were unquestionably binary, patriarchy ruled the day, and Jell-o was an entree. Despite Chernobyl’s (2019) unrelenting horror, it offers a parallel window of (imaginary) taboo enjoyment, a window to Francis Fukuyama’s End of History, the spectacle of Totalitarian fragility, and comfort in the unquestionable supremacy of the West.