A telling early scene in the old High Fidelity saw Barry, the bombastic employee of Cusack’s Rob, repel a would-be customer searching for Stevie Wonder’s “I Just Called to Say I Love You.” Barry decreed the single “sentimental, tacky crap,” saying the middle-aged man who asked for it “offended me with his terrible taste.” The equivalent moment in the 2020 version arrives when Cherise, the Barry-update played with delicious verve by Da’Vine Joy Randolph, calls out an iced-coffee-drinking bro who has strolled into the Brooklyn record store owned by Kravitz’s Robin. He holds up his phone to ID the song that’s playing. “You do know there’s an actual person standing right here in front of you?” Cherise says before launching into a semi-castigating, semi-flirtatious sermon that irritates its target so much, he leaves. She isn’t out to shame the Shazamer so much as to connect with him. “The problem with these kids,” Cherise yells afterward, “is that the generation has completely fucked off.”
Diese Geschichte stammt aus der March 2020-Ausgabe von The Atlantic.
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Diese Geschichte stammt aus der March 2020-Ausgabe von The Atlantic.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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