Readers and staffers recommend the most memorable use of songs in movie scenes. To submit your own, with a brief explanation of why it’s so effective and why you love it so much, please email firstname.lastname@example.org.
Might I suggest the use of the song “Mad World,” originally composed and performed by Tears for Fears [embedded above] but covered by Gary Jules in the film Donnie Darko. The pathos it evokes, while the camera shows faces stricken with grief and confusion, is almost unbearable. I thought the movie was good, but this scene is exceptional:
(The song ends here at the 3:00 mark, and beyond that the dialogue is in French. It’s the only video I could find that shows the scene with the music as it is in the film.)
Thanks for the Track of the Day feature, plus everything the Atlantic does.
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Adam Feiges has a stellar selection for the new reader series on the best use of songs in cinema:
If you are willing to expand the definition to television, I nominate the scene from the pilot episode of Miami Vice that used Genesis’ “In the Air Tonight” to set the mood for the lead-up to the climax of the episode. [CB note: The pilot episode is feature length, so it counts I think.] The song starts about 45 seconds into this scene and it’s really haunting:
The scene has lingered in my memory for over 30 years because it was the first time (in my experience at least) that a popular song was used effectively in the plot of a television show. The mood building, the timing (Tubbs checking the loads in the shotgun and then snapping the breech closed in time with the music), and the fact that Genesis was one of the most popular bands of the era made a visceral impression that this show was something new and different. It has become a cliché to use popular music to advance the plot of a TV show, but in 1984 it was astonishing.
I had never watched that pilot episode until Adam’s email inspired me to, so when he suggested “In the Air Tonight,” I first thought of this scandalous scene from Risky Business, which came out a year before Miami Vice:
Somehow that song works exceptionally well juxtaposed with two very different themes: betrayal and imminent danger in Miami Vice, and sultry subway sex in Risky Business.
I don’t know what this song is about. When I was writing this I was going through a divorce. And the only thing I can say about it is that it's obviously in anger. It’s the angry side, or the bitter side of a separation.
In that sense, the song is closer to Crockett’s mindset in Miami Vice, who’s going through a marital separation and who just discovered his close colleague is a corrupt cop. And the refrain I can feel it coming in the air tonight / oh Lord / I’ve been waiting for this moment all my life is something you could be thinking if you suspect you might be driving to your death. To watch that perilous scene, the one that immediately follows the one above, start at the 31:20 mark here.
The scene that immediately springs to mind is the one in Lock, Stock and Two Smoking Barrels when Eddy loses all of his and his mate’s money to gangsters in a rigged card game. As the enormity of this loss sinks into a numbed Eddy, the droning guitar strains that kick off Iggy and the Stooges’ “I Wanna be Your Dog”match up perfectly with the disoriented camera perspective that stumbles out the door with him.
What Eddy feels might not be exactly what Iggy feels, but they share a bleak desperation that makes you really feel the gut-punch of his situation.
Have fun with this new sub-series, cheers!
(Track of the Day archive here. Access it through Spotify here. Submit via hello@)
A new study suggests that almost half of those hospitalized with COVID-19 have mild or asymptomatic cases.
At least 12,000 Americans have already died from COVID-19 this month, as the country inches through its latest surge in cases. But another worrying statistic is often cited to depict the dangers of this moment: The number of patients hospitalized with COVID-19 in the United States right now is as high as it has been since the beginning of February. It’s even worse in certain places: Some states, including Arkansas and Oregon, recently saw their COVID hospitalizations rise to higher levels than at any prior stage of the pandemic. But how much do those latter figures really tell us?
From the start, COVID hospitalizations have served as a vital metric for tracking the risks posed by the disease. Last winter, this magazine described it as “the most reliable pandemic number,” while Vox quoted the cardiologist Eric Topol as saying that it’s “the best indicator of where we are.” On the one hand, death counts offer finality, but they’re a lagging signal and don’t account for people who suffered from significant illness but survived. Case counts, on the other hand, depend on which and how many people happen to get tested. Presumably, hospitalization numbers provide a more stable and reliable gauge of the pandemic’s true toll, in terms of severe disease. But a new, nationwide study of hospitalization records, released as a preprint today (and not yet formally peer reviewed), suggests that the meaning of this gauge can easily be misinterpreted—and that it has been shifting over time.
Vanishingly few people have legitimate reasons to avoid COVID-19 vaccination. Some say their doctors told them not to get vaccinated anyway.
In the battle against vaccine hesitancy, many officials have suggested that people talk with their doctor if they have concerns about getting vaccinated. This advice makes a certain amount of sense. Primary-care physicians are typically the doctors patients trust most, and doctors deeply understand the benefits of vaccines. The American Medical Association has claimed, based on a survey it conducted, that 96 percent of doctors are fully vaccinated.
In recent weeks, though, I’ve heard from several people with an interesting excuse for waiting to get vaccinated: They say their doctors told them not to. Most of the people I spoke with requested anonymity so they could share sensitive health information. Most would also not give me their doctors’ names in order to shield the providers from negative consequences. The doctors whose names I did get did not return my calls or declined to comment for this story, leaving it unclear what they really think about vaccine exemptions. Some of the people I spoke with may simply be vaccine-hesitant and trying to blame a doctor for their own choice to delay or forgo getting a vaccine. But because doctors are a large and relatively diverse group of people, with varied training, credentials, and personal politics, it makes sense that some doctors would have incorrect views about vaccination.
In his new film, the 91-year-old actor-director gets back in the saddle.
Clint Eastwood’s first Hollywood swan song was 1992’s Unforgiven, a dark, bitter Western that bade goodbye to the genre that had made him famous. He was 62 at the time, and after some 30-plus years of riding horses on-screen, the actor-director seemed ready to retire from the fictional range. Since Unforgiven, Eastwood has made 23 more films, starring in 10 of them, and many of those projects could also be considered curtain calls. In movies such as Space Cowboys, Blood Work, Gran Torino, and The Mule, he played fading exemplars of a prior generation’s masculine ideal who were struggling to understand their place in a new world. But Eastwood’s latest film, Cry Macho, marks the first time since 1992 that he’s actually gotten back in the saddle.
Sure, it may be true. But that doesn’t mean it’s productive.
“Your refusal has cost all of us,” President Joe Biden said to unvaccinated people last week, as he announced a new COVID-vaccine mandate for all workers at private companies with more than 100 employees. The vaccinated, he said, are angry and frustrated with the nearly 80 million people who still haven’t received a vaccine, and their patience “is wearing thin.”
He’s not wrong about that. For people who understand that widespread vaccination is our best strategy for beating the pandemic, the 25 percent of Americans who still haven’t received a single shot are a barrier to freedom. Their exasperation is warranted.
But bullying the unvaccinated into getting their shots isn’t going to work in the long run.
The White House wants to build a new world order, all in an effort to preserve the old one.
A new world is beginning to take shape, even if it remains disguised in the clothes of the old.
The United States, Britain, and Australia have announced what is in effect a new “Anglo” military alliance. The basics are these: In 2016, Australia struck a deal with France to buy a fleet of diesel-powered submarines, rejecting an Anglo-American alternative for nuclear-powered vessels. In March this year, Australian prime minister Scott Morrison (or, “that fellow down under,” as Joe Biden referred to him), began talking with Washington about reversing its decision. Then, last night, in a live three-way public announcement, Biden, Morrison, and British prime minister Boris Johnson announced that the Australians would scrap their agreement with France to team up with Britain and the U.S. instead, forming a new “AUKUS” military alliance in the process.
To celebrities, the red carpet of the Met Gala is like an average person’s front lawn: a place for making bold statements. The event, an annual fundraiser for the Metropolitan Museum of Art’s Costume Institute, is made for flaunting ostentatious couture. The dress code is determined by a theme—this year’s was “American Independence,” in honor of a forthcoming exhibition—that can be interpreted however an attendee prefers. Tickets are $35,000 a pop. And for four hours, the invitees—normally the most relevant cultural figures of the year—get to mug for the camera before heading inside. As a red-carpet co-host, the actor Keke Palmer, declared at the top of last night’s show, “You can never go wrong with a message.”
The transcendent power of pilgrimage comes from its total lack of thrills.
“How to Build a Life” is a weekly column by Arthur Brooks, tackling questions of meaning and happiness.
Last month, a survey by the travel industry found that a majority of Americans changed their vacation plans this summer because of the continuing coronavirus pandemic. But not everyone canceled their vacations entirely; travel spending has been almost as high this summer as it was in the summer of 2019. Some would-be adventurers simply found ways to do the exotic things they’d planned to do overseas in less exotic places. One of my friends, for instance, went bungee jumping in North Carolina instead of Costa Rica.
For my vacation, I did the opposite: I went with my family to a fairly exotic place to do a distinctly unexotic thing. I went to Spain and took a very quiet 100-mile walk.
The battles over “virginity testing” and “virginity-restoration surgery” reveal the persistence of dangerous pseudoscience.
In the Middle Ages, a royal bride would be inspected before her wedding night to make sure she was a virgo intacta—a virgin with an intact hymen covering the entrance to her vagina. “The Hymen is a membrane not altogether without blood,” wrote the 17th-century court obstetrician Louise Bourgeois. “In the middle it hath a little hole, through which the menses are voided. This at the first time of copulation is broken, which causes some pain, and gushing forth of some quantity of blood; which is an evident sign of virginity.”
In reality, some girls are born without a hymen, while others tear the membrane long before they have sex, most commonly by exercising or, today, by using tampons. Yet the demand for virginity testing—typically, a gynecological exam in which a doctor looks for the presence of a hymen—has proved surprisingly durable. In 1979, the British government performed one on a 35-year-old Indian woman who had traveled to London to get married, in order “to see whether she was, in fact, a bona fide virgin.” (The Guardian later revealed that immigration officials subjected more than 80 women to such tests from 1976 to 1979.) The Egyptian authorities used the pretext of virginity inspections to assault female protesters during the Arab Spring in 2011, and until July of this year the Indonesian military regularly performed such assessments not only on female recruits, but also on the fiancées of its male soldiers.
The late comic’s best work exemplified his resistance to cheap, easy material, but also his utter unpretentiousness.
Norm Macdonald, the brilliant and lacerating stand-up comedian who died yesterday of cancer, once told one of the best jokes about the disease that I’ve ever heard. “In the old days, they’d go, ‘Hey, that old man died.’ Now they go, ‘Hey, he lost his battle.’ That’s no way to end your life!” he said. “I’m pretty sure if you die, the cancer also dies at exactly the same time. So that, to me, is not a loss; that’s a draw.” True to form, many news stories yesterday referred to Macdonald’s “battle” with the disease over the past nine years. But none mentioned that he fought it to a draw.
Macdonald was the purest kind of stand-up, someone who could sidle up to an issue as dark as cancer and talk about it with disarming frankness and goofy glee. He didn’t tell jokes to shock people or to deliver a polemic, but that didn’t mean he couldn’t be thought-provoking. He could create finely tuned routines that’d knock the house down, but he took just as much delight in eliciting roars of laughter from fellow comics by reading corny one-liners from an old joke book, to the bafflement of the audience at large.
SpaceX just launched four private citizens into orbit for a three-day trip.
CAPE CANAVERAL, Fla.—Before liftoff, the moon was the brightest object in the sky, followed by the tiny, shining pinpricks of Venus, Jupiter, and Saturn. Then the rocket rose with a roar, a white-hot needle casting the dark evening in a soft gold. A crew of four sat atop it, strapped inside a small capsule. And none of them—not one—were professional astronauts.
The passengers who launched today are SpaceX’s first-ever private crew. They are Sian Proctor, a geoscience professor and artist; Hayley Arceneaux, a physician assistant and childhood cancer survivor; Chris Sembroski, a data engineer and Iraq War veteran; and Jared Isaacman, the tech businessman who paid for all their seats. Not long ago, they were strangers. Now they are travel buddies and—in the case of Proctor, Arceneaux, and Sembroski—the beneficiaries of a billionaire with the means to make them all spacefarers.