Wow! This is so metaphorical!

One can hardly avoid describing such an observation as hackneyed and, rather ironically, void of depth. Yet, when that same remark is exclaimed by lead character Ki-woo in Bong Joon-Ho’s class-war satire, Parasite, it is strikingly clever. Long praised for his oeuvre’s allegorical “pertinence” (well, of course, it’s about class!), the sui generis auteur uses Parasite as a vehicle to confront the wishy-washiness of that praise. Under the surface, Parasite cunningly operates as a parodical metacritique of the class-war thriller genre to which it belongs.

Across an awfully Americanesque McDonald’s drive-thru stands a building emblazoned with gaudy text begging to be noticed. It’s hard to miss when it’s the only trace of colour amongst the lonely streets of Brentford- well, besides that unmistakable yellow glow of the universal ‘M’ from across the road. Again, that’s not the only thing that's universal here. Housed in this building, the Watermans Art Centre, is an exploration of a similarly border-transcending phenomenon- online dating- by several international artists, John Yuyi and !Mediengruppe Bitnik to name a few.