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“A person lives three lives. The first ends with the loss of naivete, the second with the loss of innocence and the third of life itself.”

The Highwaymen

Die! In the name of the law! This is the engine that drives The Highwaymen, Netflix’s retelling of the exploits of Depression era bank-robbers, Clyde Barrow and Bonnie Parker, and the men who killed them. The Highwaymen follows two ex-Texas Rangers, Frank Hamer (Kevin Costner) and Maney Gault (Woody Harrelson) who are brought out of retirement by the no-nonsense state Governor, Ma Ferguson (Kathy Bates), for one last job - the extrajudicial execution of outlaws deemed too famous and too violent to be brought to justice any other way.

WHAT/IF & Velvet Buzzsaw

Susan Sontag’s Notes on Camp are so démodé these days. (Thanks Anna.) I’m almost embarrassed to have to mention them. But even if tattered, dishevelled and  dragged through the Met, they still have a value: as monitory examples for television producers, for example. The people behind two recent Netflix productions would do well to take note of the following: