—but the idea of the self-proclaimed “Urban Haute Bourgeoisie,” or UHB, as Nick Smith , another member of the set, calls it, hasn’t seen its doom just yet. We can always hope it’s coming soon. With cashmere sweaters and swooped hair, the characters declare their witty thoughts aloud. They hold a healthy disregard for the class of people who take the crosstown bus to the godforsaken Upper West Side.
If Audrey were to look for a book about Fourier at Scribner’s Bookstore today, she would instead find herself at a Lululemon. While there are exceptions for spaces of generational wealth, like Cartier or Sally’s apartment, the kind of New York where people gather in living rooms to commiserate is timeless. For an ambiguous “period piece” of the city, the adolescent characters are fundamentally uncool.
Yet, the choreography of its characters inevitably creates a portrait of the city. They fluctuate between Park Avenue and Midtown with the lovely backdrop of The Plaza Hotel and The Met at Christmas time. With this ensembled geography,falls in the vein of quintessential hangout movies, finding companions not only in its ‘90s contemporaries like Noah Baumbach’s, but to Preston Sturges’ screwball upper-crust farces.
This complicated desire is encapsulated in a brief scene where the group is sitting around in a parlor room after one of their parties. The arrogant yet likable Nick is looking out the window in an attempt at self-reflection. He delivers a deadpan line with callow seriousness: “There are 8 million stories out there.” It’s a useless observation, but one that can only happen in the company of friends who appreciate the candor of afterparties.
Jessica Jacolbe is a writer from Brooklyn whose work appears in VICE, JSTOR Daily, and Catapult. She is a graduate of Columbia Journalism School where she concentrated on Arts & Culture writing. You can find more of her work on her
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