There is a genius that Bret Easton Ellis posses — a killer aesthetic, literally and metaphorically. The author of American Psycho introduces a new thriller, The Deleted on Fullscreen; the company responsible for managing YouTube’s most eminent stars: Shane Dawson, Grace Helbig and Hannah Hart.
Vanity Teen cover-boy and Vine sensation, Nash Grier is amongst the cast alongside Madeline Brewer, who played Tricia Miller in Netflix’s hit-series Orange is the New Black; Ian Nelson, starring alongside Jennifer Lopez in The Boy Next Door. The cast is a pack of upcoming talents establishing themselves in Hollywood, similar to the Brat Pack, without the attitude.
It’s The Breakfast Club of this generation; The Deleted is appealing itself to a younger audience not just through it’s portrayal of contemporary issues of sex, drugs and social media, but through the length of the fourteen-minute episodes which look like Instagram videos with its warm and cold colours. There is something eerie about the plot — focusing on cult members from North Washington who have escaped to Los Angeles. In Ellis manner, you cannot pin down who is good or bad or who is on whose side. Everyone is somehow connected like a piece of jigsaw, which is exactly what this show is, a puzzle to be solved. But in Ellis fashion it is not the typical ‘prank’ gone wrong, but something smaller which has a bigger impact.
A Los Angeles skyline, turquoise beaches, wooden houses styled after Japanese architecture and a cast with bodies that have been carved by Greek gods. It is a recurring motif in Ellis’s work to comment on the issues of wealth and beauty — from the competition of business card in American Psycho to Victor Ward’s character in his 1998 novel Glamorama.
The Deleted is the lovechild of Ellis and Nicolas Winding Refn.
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