Chloe Malle launched a newsletter.
Sadly, not on Substack.
Good morning everyone. I just finished up three hours of meetings at Balthazar, and experienced the Ami Paris ads I wrote about yesterday for myself.
I am planning on going to SXSW next month, and I’m trying to stay for a few days to watch movies. If you’re planning a screening or know a filmmaker I should speak to for the newsletter, shoot me an email.
Some people got upset about this note I posted yesterday, which is fine. That just means we see this platform differently.
The problem I’m running into recently on Substack is that I’m seeing a lot of monotony in the types of writing and formatting of newsletters, and very little user innovation (I haven’t decided if this is on the users or the platform). Subscription creator monetization and parasocial relationships seem pretty intertwined to me — I’ve been spending a lot of time thinking about the worst case scenarios of some of the relationships that have been bred here. I hit a wall yesterday afternoon, and was overwhelmed by a feeling that was similar to how I felt when I hit publish on this essay in 2024. I deleted the Substack app this week because I don’t want to spend as much time reading Notes or newsletters.
Today’s letter includes: An update on Substack’s plans for native brand deals, Chloe Malle launched a newsletter, Meredith Hayden’s cooking show, and all of this snow has been great for the Russian and Turkish Baths.
While Clavicular walked the runway for Elena Velez’s fashion show (phone in hand), I attended the premiere of Neighbors, a new HBO and A24 show that my friend Nick Nazmi worked on. Neighbors is A24’s first unscripted series and it fits into the modern doc renaissance made possible by people like John Wilson (who moderated a conversation with the filmmakers Harrison Fishman and Dylan Redford afterwards) and Lance Oppenheim (who was also in the audience). The show is about sets of neighbors across the country, and the wars (sometimes cold, sometimes active) between them. You should watch it for yourself, but I was impressed by how nonjudgmental the filmmaking was and the absence of villain edits, as opposed to “I’m a Brooklyn documentarian who will make fools of these people.” Also in the audience: Brace Belden, Chris Black, and Alana Haim. Does anyone know why Metrograph refrigerates some of their candy?