McDonald’s

Culture Warrior

Part of the appeal of Christopher Nolan’s Batman films is that the basic conceit informing their aesthetic seems so natural. Batman is one of few major superheroes that isn’t actually a super-hero. Batman mythology, then, lends itself to a degree of plausibility more than, say, Superman or Spider-Man, so why not manifest a vision of Batman that embraces this particular aspect that distinguishes this character from most superhero mythologies? But realism has not been a characteristic that unifies Batman’s many representations in the moving image. Through the eyes of Tim Burton and Joel Schumacher, the Batman of tentpole studio filmmaking has occupied either a world of gothic architecture and shadowy noir, or one of schizophrenic camp. From 1989 to 1997, Batman was interpreted by visionary directors with potent aesthetic approaches, but approaches that did not necessarily aim to root the character within a landscape of exhaustive Nolanesque plausibility.

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In the year of our lord, 1996, pop culture commentator and writer extraordinaire Chuck Klosterman ate nothing but McDonald’s Chicken McNuggets for a week. He would later go on to chronicle this feat in an Esquire article about a man who made a name for himself eating McDonald’s for an entire month for the purposes of making a film. That film was Super Size Me, and that man was Morgan Spurlock. In 2010, two idiots from Film School Rejects would prove that history does repeat itself, despite itself.

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published: 12.23.2014
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published: 12.22.2014
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published: 12.19.2014
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