She decides to play matchmaker, because, as she tells him, she can’t believe in a world where “a guy like you can’t get a date.”Īs a complicated friendship develops between Enid and Seymour, Rebecca and Enid’s friendship erodes, largely because what they share in mordant humor, they lack in shared ability to move into conventional adulthood. They follow him home, where, earnestly hawking his vintage rare blues 78s out of a garage, Enid realizes he’s not another bumbling, mouth-breather like the boys she knows, but a fellow weirdo. At first the prank seems like a riot, but after a torturous scene watching him wait at a diner for a woman they know won’t materialize, Enid’s mean spirit turns sympathetic. They decide to answer the personal ad of eccentric loner Seymour (Steve Buscemi), who’s hoping to reconnect with a friendly woman he recently met. But their stagnation is existential, and unable to find their people, boredom turns to cruelty. Then Ghost World wedged a Doc Marten through the cracked door it left open.Įnid and Rebecca pick up in their own sick, sad world after high school graduation, where the question of what comes next weighs heavily on them, even though they’re only 18. It lampooned jocks, popular kids, and blowhards from 1997 to 2001. The road to Ghost World, born from artist Daniel Clowes’s graphic novel of the same name, was paved at least in part by the animated MTV show Daria, a show about two teen girl haters, an intellectual and an artist bonded by their mutual disdain for the ultimate bummer that is high school. Enid and Rebecca are queen shit-talkers who hate everything: consumerism, mainstream culture, trendiness, try-hards, and especially their peers-“all these extroverted, obnoxious, pseudo-bohemian losers,” as Enid describes boys their age. Ghost World is about two outsiders whiling away their post-high school malaise in a nondescript suburbia that, though never identified, with its strip malls, midcentury diners, and adult bookstores, is clearly Los Angeles playing itself. “I just feel that Kat definitely watched Ghost World and completely related to Enid,” Ferreira told British magazine The Face in 2019. Even Euphoria’s standout misfit-turned-dominatrix Kat Hernandez (Barbie Ferreira), took a DIY Ghost World mood board to the show’s stylist. Networks have scooped up show after show centering on complex female friendship ( Insecure, Fleabag, Broad City) and also those probing the shockingly transgressive lives of teenagers ( Skins, 13 Reasons Why, Euphoria). Twenty years later, the answer would be just about everybody. A movie about a guy nailing a pie was the biggest teen hit of the era, and a critic reviewing Ghost World that year echoed what was likely on the minds of every studio exec who’d rejected director Terry Zwigoff’s pitch during the five years it took to get green lit: “Who wants to see teens act the way teens really act, anyway?” When Ghost World, a dark comedy about two teenage misanthropes-Enid (Thora Birch), a classic hater, and Rebecca (Scarlett Johansson), a normie-in-waiting-debuted in July 2001, it was beloved by critics, misfits, and few others.
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