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.”
Denne historien er fra March 2020-utgaven av The Atlantic.
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Denne historien er fra March 2020-utgaven av The Atlantic.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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The Dark Origins of Impressionism
How the violence and deprivation of war inspired light-filled masterpieces
The Magic Mountain Saved My Life
When I was young and adrift, Thomas Manns novel gave me a sense of purpose. Today, its vision is startlingly relevant.
The Weirdest Hit in History
How Handel's Messiah became Western music's first classic
Culture Critics
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Teaching Lucy
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A BOXER ON DEATH ROW
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HOW THE IVY LEAGUE BROKE AMERICA
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Against Type
How Jimmy O Yang became a main character
DISPATCHES
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