The act throws Rue back into a dark spiral of dependence. You watch her wanting to resist, but know she can't.
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The performance is full of tension and sorrow. In one early-season scene, Rue (show lead Zendaya), who is a recovering addict, is forced to lick liquid fentanyl off of a knife by a sinister drug dealer. Jason Parham writes about pop culture for WIRED.Īcross its mostly terrific eight-episode first season, which concluded Sunday, Levinson introduced explicitly hard-to-swallow themes-drug addiction, domestic abuse, the hazards of online hookups, pedophilia, depression-and didn't hold back with regard to the physical and psychological violence these issues havoced on his characters. So I rush to shut out the noise with more noise. The day's onslaught-say, news of something President Trump tweeted or another mass shooting-is unabating. This year alone I've spent hours on my couch, horizontally spread, watching Homecoming or feasting on The Bodyguard. Lately, I've felt especially vulnerable to the fangs of marathon viewing. It defines almost everything we do: how we eat, how we spend, how we medicate, how we game, how we consume the news and especially how we devour TV. All at once.īinging, as a lifestyle, is the one unifying tent of the modern era. We had no reason to question the slow rot inside our bodies and brains, or how our fattening consumption habits were changing the nature of conversation around TV. We kept quiet, happily caught in the tide of digital oversaturation. Our dietary rhythms had been shaped by the nation's growing dependency on screens as irresistible portals of entertainment. The language around the shift became so culturally pervasive that at one point the collective tenor on social media was to “Netflix and chill” with one's partner, Instagram crush, or completely alone, soothed by the nonstop churn of House of Cards or old episodes of The Office (the phrase eventually took on a second life as a meme about modern hookup culture). We became streaming snobs, gorging on content.
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