You must understand two things to appreciate the overblown, overindulgent glory of Francis Ford Coppola’s crackpot masterpiece Megalopolis. First, the most pie-in-the-sky fantastical architecture that Coppola can muster is apparently a waving, gelatinous, see-through, glimmering moving walkway as if Hudson Yards’ suicide shawarma, The Vessel, traded its now-fenced-in staircases for technology largely found between far-flung … Continue reading →