Ryan Shead’s ‘I’m a Heavyweight’ Moment Is Something Else. Confidence is One Thing,...
Leftist Streamer Hasan Piker Melts Down Over Empty Fraud Daycares: 'Think of the...
Victor Davis Hanson: ‘Undertaxed’ Mitt Romney Needs to Stop Preaching and Write a...
Nancy Pelosi Says Democrats Don’t Want to Impeach Trump (Again) but He Keeps...
Axelrod Warns Against Rewarding Aggressors—Forgets His Boss Handed Putin Crimea on a Platt...
Independent Journalist Finds EMPTY Daycares in MN Fraud Bombshell—Texas Dem Calls HIM the...
'You Should Be Thanking Us': Somali Community Demands Praise Amid Massive Minnesota Fraud...
Cynical Publius: How Imported Tribal Norms Fuel Minnesota's Billion-Dollar Fraud
Interior Secretary Doug Burgum Touts: '16 Lease Sales Generating Over $187 Million'
Elizabeth Warren Got Caught in Some Censorship Hypocrisy and Could NOT Get Away...
Wokies, When the People the Fake Holiday Was Created for Call it FAKE...
WOW: Palisades Fire Chief Calls Out Superiors in DAMNING Email for Modifying Report...
Eric Adams Calls for Snowbound Baby-Making Boom Boom
A Twitter INSTANT Classic! Nikole Hannah-Jones Tries Deleting PULITZER-PRIZE Level Self-Ow...
Jake Tapper Scolding Peeps for Driving By Tim Walz's House and Yelling the...

The Economist looks at the challenge of troubling art of the past, citing 1983's 'Trading Places'

Why is The Economist publishing a critique of an Eddie Murphy/Dan Ackroyd movie from 1983? Because although some people consider it a Christmas movie, it’s actually a New Year’s Eve movie. And a New Year’s Eve scene from the movie makes us tackle the challenge of troubling and offensive art of the past.

Advertisement

The author’s name is hidden behind a paywall (perhaps on purpose?) so we’ll just have to credit it to The Economist, which reports:

… there are lots of cringe-inducing moments: racial stereotyping, explicit and vicious racism that is presented as reprehensible but played for laughs, casual homophobia, a caricature Irishman and gratuitous nudity.

Most important are the two moments when, startlingly, Mr Murphy breaks the fourth wall, looking directly at the camera and through it at the audience.

In these frames Mr Murphy’s expression is defiant, infinitely unsurprised, accusatory, coldly furious: a wordless, powerful indictment of racism—including the viewer’s. These fleeting, jolting seconds seem to belong to another movie entirely.

From this editor’s memory, the gratuitous nudity was not cringe-inducing.

Advertisement

Advertisement

No kidding. Mr. Robinson’s Neighborhood? Classic.


Related:

Join the conversation as a VIP Member

Recommended

Trending on Twitchy Videos

Advertisement
Advertisement
Advertisement