Coming from that milieu, an almost militant anti-nostalgia would have been de rigueur, since the claustrophobic ubiquity of 1960s nostalgia was one of that next cohort’s greatest irritants.
Its title would become synonymous with the skeptical anti-careerism that spurred a media panic about wayward Gen X. Linklater was thirty-one and had just made his name at Sundance with Slacker, the cheap indie he’d financed on credit cards and shot with a rough assortment of friends in the Austin bohemian underground. Ironically, Linklater intended to make an anti-nostalgia movie, about the inevitable oppression and confinement of youth, rather than the affectionate celebration of adolescent energy and untamedness he ended up with. Maerz serves more as choir arranger than critic here, but she wisely highlights certain themes, and a chief one is nostalgia-the 1970s and teen nostalgia of the film’s subject matter, and the 1990s nostalgia it (and her own book) arouses now. Along the way, it effectively illuminates the sources of D&C’s charms and shortcomings, both for devotees and for skeptics like its director and me. The book’s prime appeal is its font of anecdotes, drawn from more than one-hundred and fifty interviews, on the one hand about the trials Linklater endured getting it made, and on the other about the blast its young cast-including then-unknowns like Matthew McConaughey (he of the titular catchphrase), Ben Affleck, Parker Posey, and Joey Lauren Adams, all getting their first big breaks-had in their “summer camp” of shooting in Austin.
“I don’t know why people latch on to it.” Despite poor initial box office, the film’s cult built up through video and its popular hard-rock soundtrack until it became a recognized classic, complete with a Criterion edition and now Alright, Alright, Alright: The Oral History of Richard Linklater’s Dazed and Confused (Harper, $27), Maerz’s commemorative oral history of its making and legacy. “I think it’s middling,” he tells pop-culture journalist Melissa Maerz early in her new book. I might feel bad about that, if Linklater didn’t agree. Read more about the newcomers to the Super Bowl ad lineup here.RICHARD LINKLATER IS A DIRECTOR I CARE A LOT ABOUT, but, sacrilegiously to some, his sprawling 1993 comedy Dazed and Confused, about the misadventures of Texas high school students on the last day of school in 1976, isn’t one of my favorites.
"Traditionally, the Super Bowl has been a vehicle to make that transition into becoming more of a household name, and this year will be no different." "Some of these are companies that have grown significantly during the pandemic, and they're looking to take that momentum and use this big Super Bowl moment as a launching point to get to the next level of brand awareness," said Lee Newman, CEO of Interpublic Group agency MullenLowe U.S. Many of these companies are coming off a successful stay-at-home year and looking to build on that momentum by appearing on the game. Among them: trading app Robinhood freelance worker platform Fiverr online food delivery company DoorDash used car company Vroom resale platform Mercari gardening supplier Scotts Miracle-Gro employment website Indeed online betting company DraftKings restaurant chain Chipotle Kimberly-Clark's Huggies and mayonnaise brand Hellman's, owned by Unilever. An ever-growing list of newcomers will be shelling out roughly $5.5 million for a 30-second commercial on this year's game.