InRO Weekly — Volume 1, Issue 1
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FILM REVIEWS<br />
available as a plush toy). Alongside the wacky adverts that just<br />
preceded them, like the Gorilla drumming along to Phil Collins’ In<br />
The Air Tonight for Cadbury, they are driving marketing further<br />
toward abstraction, moving away from the tropes that the<br />
general public are familiar with in order to smuggle their<br />
messages into their brains through other means, such as the<br />
false pretenses of quirkiness, sentimentality, or social cause. And<br />
so, despite how aggressively surface-level and thin Mackesy’s<br />
work seems to be, one has to ask what exactly it is that he’s<br />
trying to sell.<br />
Most literally, it’s all the T-shirts and tote bags, and a new<br />
twenty-pound version of his book composed of screenshots from<br />
the film. But when returning to the source, his Instagram, there is<br />
a sense of the wider project. He seems to share most of the<br />
same pet causes with the Tories (the British right): from<br />
supporting nurses without ever advocating for their better<br />
treatment (he side-steps this by drawing them as angels, as<br />
saint-like creatures only to be looked up at and celebrated) to<br />
worshiping the royal family. Some of the only art that isn’t<br />
nakedly recycled is his loving portraits of the rotting former<br />
Queen and her ghoulish husband. This might seem in contrast<br />
with his calls for kindness, with the use of mental health and<br />
self-help rhetoric, but of course, it isn’t. This language has been<br />
appropriated by the right in increasingly cynical ways, teaching<br />
people to solipsistically acquiesce to the status quo; to look<br />
inward rather than out.<br />
Even Mackesy’s already wishy-washy gesture toward climate<br />
change <strong>—</strong> a character saying, without context, that there is “so<br />
much beauty we need to look after ”<strong>—</strong> can be read in this way,<br />
knowing that Mackesy has said that these characters are all<br />
fragments of the same person. The empty space around them,<br />
made blank by the white snow, is intentionally non-specific<br />
because it doesn’t represent a place but a mind, much like the<br />
room that Jordan Peterson claims you must clean before trying<br />
to change anything outside. But maybe that’s imagining a work<br />
more coherent than Mackesy is capable of making. Maybe this is<br />
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