#A$AP Marino Gang

[realmotionxi-blog]

A$AP Ant Has Left A$AP Mob: “Went Solo” The A$AP Movement loses a pivotal member. On January 11th, A$AP Ant took to Twitter to announce he'd gone solo, driving fans to question the implications.

[if-you-fan-a-fire]

FROM RENTACOP TO ROBOCOP “The security-driven logic of urban enclavization finds its most popular expression in the frenetic efforts of Los Angeles's affluent neighborhoods to insulate home values and lifestyles. ...new luxury developments outside the city limits have often become fortress cities, complete with encompassing walls, restricted entry points with guard posts, overlapping private and public police services, and even privatized roadways. It is simply impossible for ordinary citizens to invade the 'cities' of Hidden Hills, Bradbury, Rancho Mirage or Rolling Hills without an invitation from a resident. Indeed Bradbury, with nine hundred residents and ten miles of gated private roads, is so security-obsessed that its three city officials do not return telephone calls from the press, since 'each time an article appeared . .. it drew attention to the city and the number of burglaries increased'. For its part, Hidden Hills, a Norman Rockwell painting behind high-security walls, has been bitterly divided over compliance with a Superior Court order to build forty-eight units of seniors' housing outside its gates. At meetings of the city's all-powerful homeowners' association (whose membership includes Frankie Avalon, Neil Diamond and Bob Eubanks) opponents of compliance have argued that the old folks' apartments 'will attract gangs and dope' (sic).

Meanwhile, traditional luxury enclaves like Beverly Hills and San Marino are increasingly restricting access to their public facilities, using baroque layers of regulations to build invisible walls. San Marino, which may be the richest, and is reputedly the most Republican (85 per cent), city in the country, now closes its parks on weekends to exclude Latino and Asian families from adjacent communities. One plan under discussion would reopen the parks on Saturdays only to those with proof of residence. Other upscale neighborhoods in Los Angeles have minted a similar residential privilege by obtaining ordinances to restrict parking to local homeowners. Predictably, such preferential parking regulations proliferate exclusively in neighborhoods with three-car garages. 

Residential areas with enough clout are thus able to privatize local public space, partitioning themselves from the rest of the metropolis, even imposing a variant of neighborhood 'passport control' on outsiders. The next step, of course, is to ape incorporated enclaves like Rolling Hills or Hidden Hills by building literal walls. Since its construction in the late 1940s Park La Brea has been a bit of Lower Manhattan chutzpah moored to Wilshire Boulevard: a 176-acre maze of medium-rent townhouses and tower apartments, occupied by an urbane mix of singles, retirees, and families. Now, as part of a strategy of gentrification, its owners, Forest City Enterprises, have decided to enclose the entire community in security fencing, cutting off to pedestrians one of the most vital public spaces along the 'Miracle Mile'. As a spokeswoman for the owners observed, 'it's a trend in general to have enclosed communities'. 

In the once wide-open tractlands of the San Fernando Valley, where there were virtually no walled-off communities a decade ago, the 'trend' has assumed the frenzied dimensions of a residential arms race as ordinary suburbanites demand the kind of social insulation once enjoyed only by the rich. Brian Weinstock, a leading Valley contractor, boasts of more than one hundred newly gated neighborhoods, with an insatiable demand for more security. 'The first question out of their [the buyers'] mouths is whether there is a gated community. The demand is there on a 3-to-1 basis for a gated community than not living in a gated community.'

The social control advantages of 'gatehood' have also attracted the attention of landlords in denser, lower-income areas. Apartment owners in the Sepulveda barrio of the Valley have rallied behind a police program, launched in October 1989, to barricade their streets as a deterrent to drug buyers and other undesirables. The LAPD wants the City Council's permission to permanently seal off the neighborhood and restrict entry to residents, while the owners finance a guard station or 'checkpoint charlie'. While the Council contemplates the permanency of the experiment, the LAPD, supported by local homeowners, has continued to barricade other urban 'war zones' including part of the Pico-Union district, a Mid-Wilshire neighborhood, and an entire square mile around Jefferson High School in the Central-Vernon area. In face of complaints from younger residents about the 'Berlin Wall' quality of the neighborhood quarantines, Police Chief Gates reassured journalists that 'we're not here to occupy the territory. This isn't Panama. It's the city of Los Angeles and we're going to be here in a lawful manner.’ 

Meanwhile the very rich are yearning for high-tech castles. Where gates and walls alone will not suffice, as in the case of Beverly Hills or Bel-Air homeowners, the house itself is redesigned to incorporate sophisticated, sometimes far-fetched, security functions. An overriding but discreet goal of the current 'mansionizing' mania on the Westside of Los Angeles - for instance, tearing down $3 million houses to build $30 million mansions is the search for 'absolute security'. Residential architects are borrowing design secrets from overseas embassies and military command posts. One of the features most in demand is the 'terrorist-proof security room' concealed in the houseplan and accessed by sliding panels and secret doors. Merv Griffith and his fellow mansionizers are hardening their palaces like missile silos. 

But contemporary residential security in Los Angeles - whether in the fortified mansion or the average suburban bunker - depends upon the voracious consumption of private security services. Through their local homeowners' associations, virtually every affluent neighborhood from the Palisades to Silverlake contracts its own private policing; hence the thousands of lawns displaying the little 'armed response' warnings. The classifieds in a recent Sunday edition of the Los Angeles Times contained nearly a hundred ads for guards and patrolmen, mostly from firms specializing in residential protection. Within Los Angeles County, the security services industry has tripled its sales and workforce (from 24,000 to 75,000) over the last decade. 

'It is easier to become an armed guard than it is to become a barber, hairdresser or journeyman carpenter', and under California's extraordinarily lax licensing law even a convicted murderer is not automatically excluded from eligibility. Although a majority of patrolmen are minority males earning near the minimum wage ($4-7 per hour depending on qualifications and literacy), their employers are often multinational conglomerates offering a dazzling range of security products and services. As Michael Kaye, president of burgeoning Westec (a subsidiary of Japan's Secom Ltd), explains: 'We're not a security guard company. We sell a concept of security.’ (This quote, as aficionados will immediately recognize, echoes the boast of Omni Consumer Products' Dick Jones - the villain of Paul Verhoeven's Robocop - that 'everything is security concepts ... sometimes I can just think of something and it makes me so horny'.) 

What homeowners' associations contract from Westec - or its principal rival, Bel-Air Patrol (part of Borg-Warner's family of security companies, including Burns and Pinkerton) - is a complete, 'systems' package that includes alarm hardware, monitoring, watch patrols, personal escorts, and, of course, 'armed response' as necessary. Although law-enforcement experts debate the efficiency of such systems in foiling professional criminals, they are brilliantly successful in deterring innocent outsiders. Anyone who has tried to take a stroll at dusk through a strange neighborhood patrolled by armed security guards and signposted with death threats quickly realizes how merely notional, if not utterly obsolete, is the old idea of the 'freedom of the city'.” - Mike Davis, City of Quartz: Excavating the Future in Los Angeles. Photographs by Robert Morrow. New York: Vintage, 1992. pp. 245-250.

[takahro]

MARINO GVNG

[nflfanpointii]

Jeff Duncan's 10 best Saints moments in Superdome history, 10-6

No. 10: Brees breaks Unitas' record

Date: Oct. 7, 2012

Score: Saints 31, Chargers 24

With 3:05 left in the first quarter, Drew Brees fired a 40-yard touchdown strike to Devery Henderson, giving him 48 consecutive games with a touchdown pass and breaking one of the NFL’s most hallowed records. Johnny Unitas’ record of 47 had stood cemented in league lore since 1960. The historic touchdown pass helped the Saints record their first win of the season after an ugly 0-4 start in the otherwise forgettable “Bounty” season.

No. 9: Reggie runs wild vs. Cardinals

Date: Jan. 16, 2010

Score: Saints 45, Cardinals 14

Running back Reggie Bush enjoyed his best game as a pro, running for 84 yards and a touchdown, returning a punt 86 yards for a touchdown and catching four passes for 24 yards in the Saints’ NFC divisional playoff win. After allowing a 70-yard touchdown run by Tim Hightower on the first play from scrimmage, it was all Saints. Kurt Warner is probably still feeling the blindside hit he took from Bobby McCray on the interception return by Will Smith in the third quarter.

Photo by Ted Jackson, NOLA.com | The Times-Picayune

No 8: Brees breaks Marino’s record

Date: Dec. 26, 2011

Score: Saints 45, Falcons 16

The rout of the archrival Falcons was the perfect late Christmas gift for Saints fans. Brees broke the NFL record for passing yards in a season on a 9-yard touchdown pass to Darren Sproles in the fourth quarter. Dan Marino’s record of 5,084 yards had stood since 1984. As Sproles spiked the ball, Brees thrust his fist triumphantly in the air and offensive lineman Carl Nicks embraced Brees in a bear hug and lifted him into the air as teammates swarmed around him.

Photo by Scott Thelkeld, NOLA.com | The Times-Picayune

No. 7: Deuce dominates

Date: Jan. 13, 2007

Score: Saints 27, Eagles 24

Deuce McAllister’s unforgettable go-ahead touchdown run in the third quarter was the catalyst for the Saints’ second playoff win in franchise history. On a first-and-goal play from the Eagles 5-yard line, McAllister was stood up by a gang of Eagles defenders at the 3 but continued to churn his legs and barrel forward until finally collapsing across the goal-line under a pile of players as his helmet popped off. The sellout crowd went nuts and the Saints never trailed again. McAllister finished with 143 yards and two touchdowns.

Gerald Herbert, AP

No. 6: Gleason’s Who Dat chant

Date: Sept. 25, 2011

Score: Saints 40, Texans 33

Steve Gleason served as the honorary team captain on an emotional day for Saints fans everywhere. Earlier that day, my story detailing the news of Gleason’s ALS diagnosis published on the front page of the Times-Picayune. Most New Orleanians learned for the first time of the former Saints cult hero’s plight. Few will forget the emotional scene as Brees and Will Smith helped Gleason, wearing his old No. 37 jersey, to midfield to lead the pregame Who Dat chant. Goosebumps were plentiful in the Superdome during that memorable moment. "It was great to see him and his family," Sean Payton said afterward while choking back his emotions. “He spoke to our team (Saturday) night and did an outstanding job. We gave him a game ball today afterward. He's an inspiration to all of us, that whole locker room.”

[internethippy]

“Puma” by J $tash prod. by Mark Gee

The fact that J $tash has been signed to or affiliated with various crews ranging from A$AP Ant’s Marino Gang, to Rich The Kid’s Rich Forever, to his own Relax Entertainment tells you everything you need to know about the much sought-after rapper. He’s clearly got the style and skills to attract attention from the industry’s established names, and that’s just the half of it. He’s also continuing to develop his brand by getting into better shape, and is supposed to be dropping a quick follow-up mixtape to December’s “No More Distractions”. He may have been involved in controversy in the past, but that’s clearly not stopping him from making big moves now, and in the future.

- Clever Tom

[breadwinnnerz]

(DJ Nick - Marino Gang)

[thelucipost]

US rapper and model, Chynna Rogers dies at 25 American rapper and model, Chynna Rogers, who performed with ASAP Rocky's hip-hop collective ASAP Mob, has passed away suddenly at the age of 25, her manager has confirmed. “I can regrettably confirm Chynna passed away,” her manager John Miller told Billboard’s Stereogum via email. He added that her family said, “Chynna was deeply loved and will be sorely missed”. A statement from her management team at True Panther reads: "Rest In Peace Chynna. Heartbroken. All the love to those she left behind. Goodbye angel." The cause of death has yet to be revealed. In the past, Rogers battled with opioid addiction, but there is no indication if it had anything to do with her death. Chynna Rogers who was born in Philadelphia, started her career as a model, after signing with Ford Models when she was just 14. Soon after, she became friends with A$AP Mob founder A$AP Yams and released her first single Selfie in 2014 and Glen Coco in 2014 through A$AP Ant and DJ Nick's Marino Gang record label, which became viral hits on YouTube. It was the late Yams who gave Rogers the confidence to pursue a career in music and in 2015, she released EP's entitled I'm Not Here in 2015, followed by Ninety in 2016. … . Read Full Story From the Link in Bio #lucipost #celebrities #celebrity #chynnarogers https://www.instagram.com/p/B-zjMW3DCkA/?igshid=1xe4rc0xjjs03

[naijabuzz300]

US Rapper And Model, Chynna Rogers Dies Suddenly At 25

American rapper and model, Chynna Rogers, who performed with ASAP Rocky’s hip-hop collective ASAP Mob, has passed away suddenly at the age of 25, her manager has confirmed. “I can regrettably confirm Chynna passed away,” her manager John Miller told Billboard’s Stereogum via email. He added that her family said, “Chynna was deeply loved and will be sorely missed”. A statement from her management team at True Panther reads: “Rest In Peace Chynna. Heartbroken. All the love to those she left behind. Goodbye angel.” The cause of death has yet to be revealed. In the past, Rogers battled with opioid addiction, but there is no indication if it had anything to do with her death. Chynna Rogers who was born in Philadelphia, started her career as a model, after signing with Ford Models when she was just 14. Soon after, she became friends with A$AP Mob founder A$AP Yams and released her first single Selfie in 2014 and Glen Coco in 2014 through A$AP Ant and DJ Nick’s Marino Gang record label, which became viral hits on YouTube. It was the late Yams who gave Rogers the confidence to pursue a career in music and in 2015, she released EP’s entitled I’m Not Here in 2015, followed by Ninety in 2016. Also in 2017, Rogers released her EP, Music 2 Die 2. Her last release, ‘in case I die first’, dropped in January. A$AP Mob led tributes to the young artist on Twitter. He wrote: “REST EASY CHYNNA. WE GON MISS U SIS,” reads a message from the hip-hop collective’s social accounts.   Read the full article

[jukeboxdc]

A$AP Ant (@ygaddie) & @MarinoInfantry Coming to College Park Next Month Come see A$AP Ant, LuLu P and the rest of the Marino Infantry gang at MilkBoy ArtHouse on April 16th. You can get your tickets here.

[firstklassbreakfast]

New Music: ASAP Ant “Diamond Talk” Marino Gang bossman A$AP Ant today drops off a new sly single today called “Diamond Talk.”

[realmotionxi-blog]

A$AP Ant Drops The "Shay Shay" Video Off His SpringFling Mixtape

A$AP Ant Drops The “Shay Shay” Video Off His SpringFling Mixtape

A$AP Ant aka YG Addie, gives his Marino Gang members a sure shot.

A$AP Ant’s Lil Black Jean Jacketmay seem to you a distant memory, in all likelihood, it’s been terribly difficult to keep pace with the onslaught of new hip-hop records hitting the scene in 2018. To his credit, The A$AP mobster has been quietly busy since that accord, most recently as this past…

[joneswilliam72]

A$AP ANT'S Marino Gang stands steady with "Fubu Got That Flame 9000"

  A$AP Ant AKA YG Addie remains consistent in music videos with "Fubu Got That Flame 9000." The title of the song is a salute to his main producer Lord Fubu and features frequent collaborator Soduh. Since late 2017, A$AP Ant has been focusing more on his own company – Marino Infantry or Marino Gang […]

The post A$AP ANT'S Marino Gang stands steady with "Fubu Got That Flame 9000" appeared first on EARMILK.

from EARMILK http://bit.ly/2PgYnNM

[beatwithhookblog]

  Source Watch This Artists on YouTube here: A$AP Ant ft Marino Gang – Shay Shay (Official Music Video) Via Beatwithhook.com   More Information How To Get Free Beats And Buy Beats Here Beat With...

The post A$AP Ant ft Marino Gang – Shay Shay (Official Music Video) appeared first on BeatWithHook.com.

[72sauce-blog]

FLYING SAUCER : // A$AP ANT

Flying Saucer(비행접시): 1947년 이래 세계 여러 곳에서 보였다고 하는, 접시 비슷한 정체 불명의 비행체..    비행접시는 가장 빠르게 날지만 소리가 전혀 나지 않는다고 합니다. Flying Saucer 시리즈는 비행접시처럼 가물가물 하지만 잘 보이지 않는 곳에서 자신만의 소스를 뿌리며 날고 있는 ‘날으는 소스러’들을 포착하기 위한 프로젝트입니다.

A$AP ANT 에이샙개미

    YG ADDIE라는 이름으로도 알려진 A$AP Mob의 일원 A$AP ANT(본명  Adam Kirkman)는 에이샙 몹의 초중반기 부터 함께한 멤버였다. 2010년도 Washington Heights에서 열린  40 Oz Bounce 행사에서 A$AP Yams 와 Rocky를 처음만났다고 하는 에이샙 앤트는그 당시 ‘Marino Gang’이라는 의류 브랜드를 운영하던 16살 소년이었다.  랩과 의류 문화 전반의 크로스를 꾀하던 에이샙 얨즈의 지지와 그의 프리스타일을 들은 라키가 랩을 해보는게 어떻냐는 말에 에이샙 엔트는 에이샙에 합류하게 되고 그 때부터 음악 활동을 시작한다.

Rocky의 Peso 뮤직비디오에 등장하는 Ant의 브랜드 Marino gang

   14살의 어린 나이에 시작한 에이샙 앤트의 스케이팅 의류 브랜드 Marino gang은 락키의 Peso 뮤직비디오에 등장함으로 큰 인기를 얻게 됬고 현재는 Gang이라는 단어의 과사용을 우려한 앤트가  ‘Marino Infantry’로 브랜드 명을 변경했다. 볼티모어 출신이었던 앤트는 Pharrell Williams의 스케이팅 의류 브랜드인 ICE CREAM에 영향을 많이 받았다고 하며 다소 유입이 적은 스케이팅 씬에서 새로운 흐름의 역할을 맡고 있다. 최근에는 VLone과 콜라보도 같이 하며 활발한 활동을 벌이는 중이다.

   이러한 사업가적인 면모를 가지고 커리어를 시작한 애이샙 앤트 이지만 하입비스트와의 인터뷰에 따르면 그는 결국에는 자신은 사업가보다는 래퍼라고 말하고 있다. 사업이라는 것은 혼자서 하는 것이 아니라 수많은 이들의 손을 거쳐서 이루어지는 만큼 자신 마음대로 할 수 없지만 음악은 자신이 하고 싶은 것을 할 수 있다는 것이 그 이유였다. 

  2012년 데뷔 이후 싱글인 ‘Bath Salt’ 과 에이샙 몹의 첫 믹스테입 Lords Never Worry(2012)에서 보여진 그의 랩은 사실 혹평을 많이 받았다. ‘The weakest A$AP’ 이라고 표현될 정도였다. 느릿하고 정직하지만 묵직하게 꽂히는 앤트의 랩은 당시 에이샙 몹의 베이스가 되는 뉴욕에서는 크게 주목받지 못하는 스타일이었다. 이러한 비난 속에서 앤트는 잘 나가고 있는 옷 사업에만 집중하고 음악을 그만둘 수 있었지만 그는 포기하지 않았다. 

   2015년 발매된 A$AP Mob의 믹스테입 Cozy Vol.1에 수록되었던 트랙 ‘Runner’이 공개되면서 앤트에 대한 평가가 서서히 바뀌기 시작했다. 트랩 사운드가 좀 더 섞이게 되면서 앤트의 랩 스타일이 곡에 훨씬 잘 녹아들게 되었던 것이다, 더욱이 이 곡이 발매된 2015년은 2016년 XXL Freshman에서 Lil Yatchy, Lil Uzi Vert, Kodak Black등의 파격적인 신예가 등장하게 되는, 힙합씬에서 변혁의 과도기적 성격을 가지는 시기였고 이는 앤트의 평가가 바뀌는 것에 상호적으로 영향을 끼쳤을 것이다.

   에이샙 앤트는 여기서 그치지 않는다. 그는 동료들과는 다소 다른  음악적 행보를 걷는다. 베이퍼스럽고 부스러지는 질감이 특징적인 남부 프로듀서 Lord Fubu를 Marino Infantry Records로 영입하여  지속적으로 사운드 클라우드를 통���서 신곡을 발매한다.  

https://soundcloud.com/ygaddie/yg-addie-high-definition-prod-by-lordfubu

   Tim Westwood에서의 프리스타일 이후 Marino Infantry Records 사운드클라우드 계정을 통해 공개된 로드 푸부와 에이샙 앤트의 프로젝트 Hign Definition, Diamond Talk에서 에이샙 앤트는 그의 AKA 였던 YG Addie 를 적극 차용하며 자신과 자신의 음악을 다시 한번 특징짓는다. 첫번 째 곡 High Definition 에서 에이샙 앤트는 마리오와 같은 게임 사운드와 피치를 넘나드는 신스가 가미된 느릿한 로드 푸부의 비트 속에서 약과 헤이러들에 관해 논한다.   

  이런 트랙들 뿐만 아니라  K$upreme 이나 Playboi Carti와 같은 남부 아티스트들과의 작업이나, 마찬가지로 버지니아 출신 프로듀서 ICYTWAT과의 리믹스를 본다면 그는 남부의 음악적 색깔에서 자신이 가장 빛날 수 있다는 것을 스스로 잘 알고 있고, 꾸준해 해 나가고 있는 것으로 볼 수 있다.   

  시련에서 좌절하지 않고 눈을 돌려 마이너한 것들이라도 자신에게 적합한 것들을 갉아먹어 기어코 씬에서 살아남고 마는 그의 능력은 역시 그의 이름 Ant(개미)에서 기인한다고 말할 수 있을까. 앤트는 결국 자신의 길을 찾았고 Cozy Tape들 에서도 확실한 존재감을 보여줄 정도로 성장했다. 하지만 여전히 얨즈가 자신을 믿어주지 않았다면 자신이 이 자리에 없었을 것이라는 말을 한다. 항상 응원해주고 음악을 시작하게 도와준 라키에게도 감사를 표하며 자신의 크루인 A$AP에 대한 애정도 여실히 보여준다. 주목하기 쉽지 않지만, 사업적이든 음악적이든 그는 지금도 소리없이 빠르게 날아가고 있다.

[njawaidofficial]

'Wet Hot American Summer: Ten Years Later' Review

http://styleveryday.com/2017/08/04/wet-hot-american-summer-ten-years-later-review/

'Wet Hot American Summer: Ten Years Later' Review

‘Wet Hot American Summer’ returns for its second season on Netflix and while there are plenty of laughs, there are more misses than ever before.

It’s one of those odd modern programming miracles that Wet Hot American Summer, a movie that made under $300,000 at the domestic box office in 2001, built enough of a cult following to spawn the Netflix prequel series Wet Hot American Summer: First Day of Camp. And then it’s in some ways equally remarkable that just two years later, without the rocket fuel of a decade’s nostalgia, creators David Wain and Michael Showalter were able to get much of the gang back together for another eight-episode Netflix season.

Wet Hot American Summer: Ten Years Later isn’t an example of going to the well once too often, but it definitely exhibits a fatigue that the first two installments didn’t have. The movie and first Netflix season were hit-or-miss, because what spoof this side of Airplane! isn’t hit-or-miss, but the ratio of hits was so high that laughter covered over any weak patches. With Wet Hot American Summer: Ten Years Later, there are definitely barren stretches and the overall thinness of the narrative is, especially toward the end of the eight episodes, a part of the story itself. Being the worst of the Wet Hot American Summer entries is no disgrace and there’s enough lunacy, inspiration and cleverness here that Ten Years Later at least makes for a fast binge.

The season begins on August 18, 1981, as the junior counselors of Camp Firewood make a vow.

“Let’s all promise that in 10 years from today, we’ll meet again and we’ll see what kind of people we blossomed into,” Bradley Cooper’s Ben says.

The joke, it turns out, is that by the time August 17, 1991, has rolled around and the counselors are getting ready to reunite, the kind of person Bradley Cooper has blossomed into is a movie star too busy to return for another season.

Basically everybody else is back, including Coop (Michael Showalter), Katie (Marguerite Moreau), J.J. (Zak Orth), Susie (Amy Poehler), Victor (Ken Marino), Neil (Joe Lo Truglio), Beth (Janeane Garofalo), Abby (Marisa Ryan), Andy (Paul Rudd), Donna (Lake Bell), Yaron (David Wain) and many more.

Like Friends From College only actually funny, Ten Years Later is about the triumphs and regrets that come with the passage of time and the unbreakable bonds you have with the people you were close to in your youth. Some have found love, some have found professional success and the only important thing is that Victor hasn’t gotten laid and still doesn’t quite understand how sex works.

It’s also about a complicated web of geopolitical intrigue that involves Ronald Reagan (Showalter), George Bush (Black) and many more opportunities for innovative action scenes involving Can of Vegetables (the voice of H. Jon Benjamin).

The first two Wet Hot American Summer installments have blended together in my mind such that I don’t remember exactly which characters are Netflix-only, and when it comes to this installment’s newbies, the only requirement is that they have a comic energy that seems to fit with the ensemble. In that respect, Mark Feurstein and Sarah Burns are both fine, but I doubt they’re going to become anybody’s new favorite characters. Alyssa Milano is probably the standout of the new characters, playing an overly enthusiastic nanny in a storyline that apes The Hand That Rocks the Cradle. Jai Courtney, putting on an exaggerated British accent, is also amusing, especially if you’ve been disappointed by Jai Courtney in action hero mode.

The new characters mostly function like hot glue in an arts-and-crafts project, holding together pieces that are much more frayed than last time. Almost every member of the cast has other things that they’re doing and while this isn’t quite as extreme as the Arrested Development season in which none of the Bluths spent any time together, it’s close. Because this is Wet Hot American Summer and playing with genre conventions is what Wain and Showalter love to do, they have moments of fun with the cast. One character, played by an actor who’s a regular on another TV show, gets to his Camp Firewood cabin, remembers all the great naps he had in his bunk and promptly wraps himself in a blanket and is only a swaddled PA-shaped lump for a couple of episodes. Or another character, mid-conversation, gets abruptly called away, tells her partner they’ll talk at lunch and he replies, “Yes. Episode four.”

But it isn’t always that clever. Elizabeth Banks’ Lindsay has become a news reporter, so she’s off in a storyline on her own for most of the season. She returns for the story’s climax, which a couple of key characters miss because they’re still at the end-of-summer dance. Can of Vegetables goes off on his own mission and rounds up two or three of my favorite characters and whenever he’s absent, my notes start saying, “But where is Can of Vegetables?!?” which isn’t something that happens with most shows.

I wouldn’t say it’s a breakout season for any particular character. If you laughed at somebody before, you’ll still laugh. Give me a couple of seconds of David Wain and Lake Bell speaking Hebrew and I’m set for a while. No amount of Christopher Meloni’s Gene will ever be enough, but I’ll take what I can get. Poehler having a drama geek showdown with John Early’s Logan makes for at least one great scene. Paul Rudd impersonating Matt Dillon in Singles is a reference I can get behind.

After two seasons of riffing on summer camp comedy tropes, ’80s kitsch and the silliness of actors in their 30s and then 40s playing teens, the time jump is fertile for the writing team and especially for Wain, who directed all eight episodes. It’s a world of horrible fashion choices, embarrassing hair, background parody songs in a variety of styles and tossed off references, like when a character calls themselves a slacker and a friend agrees “Like that movie that just came out five weeks ago.” Even when reunion movies like The Big Chill or St. Elmo’s Fire offer some opportunities for new chuckles, you can tell Wain is still more amused by camp silliness, but that’s mostly going on with a new cast of kids who play sports and practice drama only sometimes perplexed by the old guys looking to recapture past glories in the cabin next door.

In a season that’s about The Spirit of Camp Firewood — the former campers who have lost it, the current campers who might lose it if Beth is forced to sell — what’s missing more than anything is the group spirit that comes from the interplay of this ensemble of ridiculously talented improvisers. But maybe it’s all setting up a Wet Hot American Summer Reunion: Reunion in however many years it takes for these actors to be available as a collective again. Whatever flaws Ten Years Later has, I’m not soured on this world.

Network: Netflix

Cast: Michael Showalter, Marguerite Moreau, Zak Orth, Amy Poehler, Ken Marino, Joe Lo Truglio, Janeane Garofalo, Marisa Ryan, Paul Rudd, Lake Bell, David Wain.

Creators: David Wain and Michael Showalter

Premieres Friday, August 4 on Netflix.

#American #Hot #Review #Summer #Ten #Wet #Years

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