Hush isaac11/1/2022 ![]() ![]() Written and shot in 1990, and released two years later, Araki’s pomo-erotic picaresque detonated like a time bomb, set ticking in a moment when ACT UP was exposing the Reagan-Bush administration’s indifferent response to the AIDS crisis that was decimating the gay community. Goosed by a soundtrack of industrial music, the gay lovers on the lam in Gregg Araki’s The Living End steered head on toward the fallout from the Reagan decade-their “CHOOSE DEATH” bumper sticker, a bratty inversion of the ’80s pop slogan, the movie’s bluntly subversive raison d’être. ![]() But over in the darklands, beyond the fringes of Wayne’s World’s schwinging satire, another pair of Gen-X wastoids in a pale blue ’80s compact were going nowhere fast. ![]() In multiplexes all across America in the spring of 1992, suburban kids partied on with the goofball adventures of Wayne Campbell and Garth Elgar, two enterprising knuckleheads riding a wave of straight culture’s accumulated debris-classic rock, hairspray babes, SNL-into the era of Rock the Vote and blithe Clinton optimism. ![]()
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