Twitter is a lesson in the structural imbalances that fuel society. We put our passion into a product that was, at best, compromised from the start. The form created, fed, and thrived on base impulses. The wider the circle we drew, the more adversarial it became, the harder we fought to hold our ground. That’s a way of seeing, of being in the world, that is antithetical to wellbeing. Twitter has always been toxic, abusive. Only now are we seeing its truth.
Paul Thomas Anderson captures the feral exuberance of the early seventies, as the precocious 15-year-old child actor, and natural hustler, Gary Valentine (Cooper Hoffman) pursues the 25-year-old Alana Kane (Alana Haim), “the woman he’s going to marry”.
Inspired by the life of Anderson’s friend Gary Goetzman, the story bubbles up rather than unfolding. It’s joyous in many ways, full with the kind of optimism none of us can feel anymore.