"There’s something about this haunting insomniac aesthetic that seems to live on in videos like the Waffle House melee."

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"[Like the Edward Hopper paintings at the Whitney Museum, t]hey contain something awkward about labor and racial binaries, and even those shot in daylight have a kind of existential darkness, an anarchy associated with late nights. Their collisions are physical. Hopper’s isolated figures hunch quietly while raucous modern diners have to be held back from the staff, but in looking at both you can see an essential American estrangement, the same quality of noirish alienation under jaundiced light...."

Here's the Waffle House melée Orr is writing about:
And here's Edward Hopper's "Automat" (cited in the article along with the more famous "Nighthawks"):


This gets my "MSM reports what's in social media" tag. We NYT readers might think it's too lowly to go straight to Twitter/YouTube/TikTok and watch things like the the Waffle House melée unmediated by elevated prose — haunting insomniac aesthetic... labor and racial binaries... existential darkness... an essential American estrangement... noirish alienation... jaundiced light....

I'm not the kind of cheap riffraff that's hypnotized by short videos on small screens. I'm a reader of profound thoughts. I would never go to the Waffle House in the middle of the night. I go to the museum in daytime. But I do want to feel that I care about the alienated, noirish people on the other side of the labor and racial binary.

I am a New York Times reader.

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"There’s something about this haunting insomniac aesthetic that seems to live on in videos like the Waffle House melee." "There’s something about this haunting insomniac aesthetic that seems to live on in videos like the Waffle House melee." Reviewed by Admin Blog on 10:52 AM Rating: 5

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