(The fact that the vast majority of these people are white compounds the discomfort.) In recent years, our culture has become more humane in the way we talk about mental health, but we’re still most comfortable extending our sympathy to people who behave in comfortably sympathetic ways. Interspliced with this footage are callous jokes from late-night monologues, talk-show hosts wondering if West has gone to “the sunken place,” all manner of people treating an obvious mental health crisis like it’s a stunt, or worse, a comeuppance. Now We Have the Worst.īut there’s also a way that watching this footage forces us to reflect on how the media and the broader public have dealt with this chapter of West’s fame.
I’ve Read Nearly All the Books by Former Trump Officials. Netflix’s Groundbreaking New Show Is Much More Than a Comedy-but Be Careful What You Call It What Really Makes Serena Williams’ Last Stand So Remarkable Viewers Lost It Over a Horrifying Scene in the New Game of Thrones. Then, in 2017, West brings Coodie back into the fold, and he’s once again granted unfettered access to film West while he’s on tour, while he’s working on his fashion line, while he’s recording in Wyoming, and, perhaps most notably, while he is experiencing a prolonged series of mental health crises. As West ascends to unimaginable levels of fame, his relationship with Coodie grows more distant, and at times more strained. (Armchair Freudians might also argue that West’s galactic self-confidence, which has at times been both his greatest asset and his greatest weakness, is as much a product of nurture as nature.)Īll of the above unfolds in the movie’s first two parts, but the film’s third part will likely be its most discussed. A Boy Called Alex (Channel 4), a documentary about a teenage musical prodigy and Eton schoolboy who suffers from an incurable disease, cystic fibrosis. Director: Emile Ardolino Stars: Patrick Swayze, Jennifer Grey, Jerry Orbach, Cynthia Rhodes. The love and admiration in their eyes when one looks at the other is unmistakable and totally disarming. Spending the summer at a Catskills resort with her family, Frances 'Baby' Houseman falls in love with the camp's dance instructor, Johnny Castle. And of course West himself eagerly plays the part of the doted-upon child, constantly seeking his mother’s affirmation and approval, knowing that she will unfailingly provide it. The most emotionally affecting scenes of Jeen-Yuhs are the ones with West and his late mother, Donda, who comes off here as an almost superhuman fount of maternal love and encouragement.
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