Feels Good Man
In detailing Pepe the Frog's journey from meme to monster, Feels Good Man charts the corrosive nature of creative ownership. (This review is part of our coverage of the 2020 Sundance Film Festival.) For San Francisco-based artist Matt Furie, it was always just a frog. But for legions of people on the Internet, Pepe the Frog means so much more: a source of joy, a catalyst for hate, and a million things in between. Pepe's been around almost as long as the modern Internet; he caught on in 2005 when Furie uploaded his first digital comic about Pepe (part of the gang in his irreverent slice-of-life comic Boys' Life) to MySpace. It wasn't long before he took off, the frog's carefree, half-lidded expression becoming an avatar for a generation of disaffected, directionless youth finding refuge on social media -- and later, finding himself on the Anti-Defamation League's list of hate symbols. Arthur Jones, an illustrator and animator in his own right, wanted to chart the meme's descent from innocent mascot to icon of the alt-right, and Furie's Sisyphean attempts to reclaim his creation. In Feels Good Man, he manages to accomplish quite a bit more than that: Furie and Pepe become the poster children for the consumptive, corrosive nature of the Internet, and the complications that come from the democratization of art. Continue Reading →