Tag: Netflix

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Aesthetics Culture

Day 1854 and Will The Real Fake Fendi Please Stand Up?

I don’t know if I should be flattered or irritated but I learned funniest thing this week. Netflix “stole” my Real Fake Fendi story for their hit show Emily in Paris. Let me explain.

Emily in Paris wrote a plot-line into the current 5th season which appears to be riffing on one of my old blogposts “The Real Fake Fendi.” It is a true story & anyone who has known me awhile has heard me tell it.

I wrote about it in ‘21 on this blog five years long before this season premiered. I am on day 1853 day of writing a daily blog and published the story on Day 89 of my writing experiment though the actual experience took place sometime in the late aughts or early teens where I believe I first wrote about it on an old blog I took down.

Emily pitches a campaign to Fendi for a “real fake Fendi” on Emily in Paris

I suspect I would find earlier variants of this tale from my very first (somewhat popular) fashion blog as well. I suppose where fashion is headed is always where fashion has been. Or as they say on the show “it’s super meta and self referential”

The story goes like this. I was once was asked by a tourist for directions to find “a real fake Fendi” when I lived in Manhattan’s Chinatown.

I was honestly stumped by this inquiry. I didn’t answer immediately as my mind raced through the implications of their request. Imagine my mind retrieving.

Was there a fake that had inherent realness that other knockoffs did not possess? Was there a vendor who sold the most authentic mimicry of Fendi which the tourist wished to find? I had no clue how to answer.

Did they mean the realness one sees on the catwalks overseen by RuPaul? But which kind of realness? The creation that evokes the spirit of its inspiration? A realness so over the top and yet absolutely true to its essence?

Or perhaps the blunt direct feedback from being “read” by a drag artist that no construct, no matter how convincing, is the original artifact. Is is serving realness? I honestly didn’t know. I had Walter Benjamin’s The Work of Art in The Age of Mechanical Reproduction swirling in my head and still has no answer.

Apparently tourists looking for Canal Street want to buy the most authentic real fake Fendi

I just told the tourist that Canal was one block north and walked away. I don’t know if they ever found what they were looking for and I may have even given them the wrong directions I was so flummoxed.

Now can I really complain about someone taking one of my coinages and injecting it into a Darren Starr show about spunky brunette girl from heartland American who becomes a luxury fashion marketer by being good at social media. You see where I am going with this. That girl is me.

Perhaps my friend and fashion scholar Susan Scafidi of Fordham Law School’s Fashion Law Institute & author of “Who Owns Culture” would know who owns this cultural artifact. I bet I’ve told her this story too.

This life story archetype has been aspirational long before me. Murphy Brown anyone? It has been done in many different formats including Darren Starr’s best known work Sex and The City.

But it is my story too. So is Emily in Paris the real story of Julie in Manhattan? Is Julie in Manhattan the real Emily in Paris? Am I a retro causal multiverse prequel version of Emily?

Who is the real Emily? Am I the real Emily? Who buys a fake version of the real thing? Either way, I think Netflix owes me at a walk on spot. It would be very self referential. Or me-referential

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Internet Culture Media

Day 1844 and Sorkin Syndrome

I have no idea how Netflix decides on its content deals but I enjoy popping into a new region and being shown classics from another intellectual property catalog than America’s list

Last year the entire Star Trek catalog from Captain Kirk to Deep Space 9 was available in Europe on Netflix. A content deal I knew wouldn’t last but enjoyed.

Who isn’t soothed watching a world where Captain Picard manages a crisis with a team of rational officers committed to collaboration and curiosity? Probably most people but I’m a nerd.

I am pleased that Gene Roddenberry gave us space cowboys and turned it into a camp art franchise for the ages. Paramount its owner is now owned by Larry and David Ellison. The IP being owned by someone made wealthy through computing seems on brand. But it also means it Star Trek isn’t going to show back up on Netflix anytime soon even in Europe.

As an owner of franchise television I understand their motives. But as a consumer it makes good sense to run your content through a VPN. As an American you tend to forget it’s necessary until a foreign government dings your social media. The United Kingdom amirite?

For normies who don’t tempt speech laws on Twitter for fun, I’d expect the benefits of a VPN would be getting to an old television show that isn’t shown in your region but maybe your average Netflix user isn’t that sophisticated. Or they want to be sure they don’t break the rules who knows where the ethics of intellectual property are anymore.

All this is to say with Star Trek gone I was curious what would replace it in my rotation of shows on Netflix but not owned by Netflix. And sure enough a new pile of content changed over in 2026 and I was given Aaron Sorkin’s West Wing on my Netflix as I moved into a new region.

That’s a fantastic world even less likely yo emerge than Gene Roddenberry’s space socialism. A world where American liberals run a coalition of competent and patriotic civil servants who are working for a patrician economics Nobel laureate who ran New Hampshire? Things really were different being the neoliberal consensus broke down.

Categories
Aesthetics Media

Day 1801 and Parked in Front of The iPad

My immune system must be reacting to something, be it travel and environmental factors or perhaps a bug I caught, so I’m in bed and trying to keep my body happy. That means catching up on a few Love is Blind seasons.

As the American seasons get worse and worse, the international editions offer up clues as to the politics and tensions that producers feel the need to offer up to international Netflix audiences.

I am an unabashed fan of the franchise and what it offers up as a cultural mirror especially as different countries try to show the ways their status, class, colonial and power structures impact marriage.

The United Kingdom had a Manchester season that was more commentary on the failures of the working class and the country’s immigration systems than it did romance. It almost hurt to watch.

France’s most recent cast was more pan-Asian colonial tensions at the forefront (with an Algerian or two) than featuring any continental or regional ties. The Italian season reflects a more United Colors of Benetton than Georgia Meloni’s. European franchise spin offs feature more immigration more than America.

While everyone is talking about Netflix acquiring Warner Brothers today, I wonder if Hollywood will drive new cultural directions or if the data driven Netflix will produce endless remixes of subgroups and niches so no matter your identity you too will have an avatar on a spinoff of a reality show. Love may be blind but the watching data sure isn’t.

Lest you think it is all fan service and showcasing different immigrant groups being absorbed into the wider national identities of their former colonial governments, you do see the occasional fusion of sanded off styles meant to appeal across strange niches.

I love watching the style of the country doing offs as it is both globo-homo any and everywhere while still targeting very identity driven and place specific people.

Some make no sense. Who doesn’t love seeing a bizarre fashion choice like a Prada bolo ties at a French wedding? Unless you are an Italian getting married to a Texan girl at Marfa, it’s odd to pick 2020’s most viral celebrity accessory to get married in France on a 2025 reality show.

Sure still see some aesthetic choices you expect for both local and global reasons. Like the Italian party planner with the Gucci bee broach. That seems culturally appropriate with a cast that was variably actually Italian despite their their aesthetics

Long burgundy blazers and Gothic Bulgarian girls could work in any country this year. That’s simply globally appealing in the now in any country. Warner Brothers should be taking note.