Word: angst
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...dimensional, as cartoon characters. The players call each other by their real names--Erik, Will, and Waka ("real" is relative on and off the stage)--and portray Shakespearean actors in the same way that Bugs Bunny portrays a rabbit: They play caricatures, not characters. The "actors" are shy, ironic, angst-ridden, occasionally obnoxious and grossly human. Their closest Shakespearean analogues are the Rude Mechanicals in A Midsummer Night's Dream...
...hoppers, however, have no monopoly on sexual angst. TV has also become obsessed with virgins, from Felicity, Buffy and Dawson to next season's Popular and Wasteland. The medium loves titillating and moralizing, and virgin dramas allow both, a situation that has changed little since the 1978 controversy over NBC's James at 15. Dan Wakefield, who created James, says NBC then balked not at James' deflowering but at his using birth control: "They said that if James has sex at age 16 and is not married, he must suffer and be punished." Just so, Buffy can lose her maidenhead...
...dimensional, as cartoon characters. The players call each other by their real names--Erik, Will and Waka ("real" is relative on and off the stage)--and portray Shakespearean actors in the same way that Bugs Bunny portrays a rabbit: They play caricatures, not characters. The "actors" are shy, ironic, angst-ridden, occasionally obnoxious and grossly human. Their closest Shakespearean analogues are the Rude Mechanics in A Midsummer Night's Dream...
...factors of a post-punk generation. On "I Don't Love Anyone," in a sense speaking to Lou Reed, Murdoch tells of meeting a strange man who told him, "The world is soft as lace." The singer replies, "There's always somebody saying something." Herein lies the obligatory generational angst: a reversal of "Sweet Jane." Of course, there is also "Expectations," a song about a woman in a dead-end job; she is said to have a hobby of making life-size statues of the Velvet Underground...
...late-'90s rock musical Rent, with its theme of pre-millennial angst, was written in that crescendo of intensity. It asks in its most famous refrain how best to measure time--"in daylights, in sunsets, in midnights, in cups of coffee?" Later in the musical, the reason for measuring is articulated: "You're living in America at the end of the millennium...where it's like the Twilight Zone...