The adorably twee, hand-crafted, stop-motion-animated, dalmatian-spotted snake is eating its own tail. That’s the message of “A Supercut Of Every G*ddamn Wes Anderson Supercut On The Internet,” a sobering video montage that suggests that the well-intentioned citizens of the internet have gone to the Wes Anderson well way too often over the last few years. Way, way, way too often, in fact. That well is now officially dry, declares this supercut, which was created in a seeming fit of pique by New York film/video production company Magnalux Pictures. Yes, Texas-born indie director Wes Anderson uses red and yellow a lot in his films. And, yes, he does have a thing for overhead views, matching costumes, profane outbusrts, and perfectly centered shots. Yep. No denying any of that. All of these salient points have been made, repeatedly, by others in the form of thoughtfully curated, already-existent supercuts and parodies. There is no need, none at all, to create any more. When a director has inspired enough supercuts to merit a mega-meta-supercut, it just might be time to move on to another subject. Jim Jarmusch? Noah Baumbach, perhaps?
Set to the ever-rising strains of Edvard Grieg’s “In The Hall Of The Mountain King,” “A Supercut Of Every G*ddamn Wes Anderson Supercut On The Internet” anthologizes such memorably maddening Anderson tributes as “Wes Anderson: From Above,” “A Porn By Wes Anderson,” and even “The Midnight Coterie Of Sinister Intruders,” which was Saturday Night Live’s late-arriving contribution to the trend. But doesn’t a meme automatically die when network television finally gets around to acknowledging it, à la the so-called Family Guy effect? Apparently not, as the Wes Anderson videos kept on coming, even after both SNL and Conan O’Brien had done their versions. So the folks at Magnalux Pictures did what had to be done, taking dead aim at, in their words, “the internet’s most prized and cherished director, Mr. Wes Anderson, and his beloved filmography.” Hopefully, this ends it once and for all. Meanwhile, the filmography of Guy Maddin is rife with supercut possibilities.