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joeinfurnari · 4 years

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My Dinner with Andre

My Dinner with Andre might be one of the most difficult movies for many viewers to watch. The artsy crowd would call it minimalist while the more lowbrow among us would say it’s boring! There’s just so little to it that there is a valid case for both. The story is simply a struggling young playwright, Wally agrees to meet an acquaintance, Andre, for dinner at a nice restaurant in decaying New York city and conversation ensues. The end. But like so many things in life, My Dinner with Andre gives you so much more if you really listen closely. I recently watched it again and I forgot just how great it is and how it continues to speak to us today.

It’s so stark and unapologetic about being without plot that it’s become the subject of many pop culture parodies. I know there is a Simpson’s reference to it but I most enjoyed the episode of Community that spoofs it. You may think that this comes from a place of common dislike for the movie but it’s actually the opposite. The parodies just prove how influential and beloved it is. Why? For me, the appeal is the conversation itself. It’s been celebrated for being a complete fiction that does a great job at coming across as a documentary but that’s just appreciation on a formal level. It’s not just that they had a conversation that’s important, it’s what they talk about that matters. The content of that discussion is so important, the writers and filmmaker felt it merited being the subject of a film without any distraction. To say that Louis Malle created My Dinner with Andre for the iconoclasm alone, misses the point.

The two men seated at dinner are artists/playwrights and catch up on the long period since they last encountered each other. They’re not really friends and Wally even debates cancelling the dinner before ultimately opting to go. He’s a working writer and artist making ends meet in New York City while Andre has had a long hiatus from creative life spent on travel and self examination. Wally confirms their community speculation that Andre has money that allows his adventures. Andre at first spends dominates the conversation with anecdotes about mutual acquaintances and talks about some of the retreats and workshops he’s attended recently. Andre has dropped out of the arts and has been on a personal quest to find himself after becoming disillusioned with his life.

In the time since they last spoke Andre describes a crisis in his creative life. He left the theater and traveled to Poland where he spent time with strangers in the woods creating experimental theater. He didn’t speak or understand Polish and they didn’t understand English but the time spent together was transformative. What began for him as creative exploration in the woods forced him to act as himself and in so doing he was forced to examine his life and how he acts when he plays himself:

So, you follow the same law of improvisation…which is that you do whatever your impulse, as the character, tells you to do…but in this case, you are the character. So there's no imaginary situation to hide behind…and there's no other person to hide behind. What you're doing, in fact, is you're asking those same questions…that Stanislavsky said the actor should constantly ask himself as a character:

Who am I? Why am I here? Where do I come from, and where am I going?

But instead of applying them to a role, you apply them to yourself.

Andre tells more stories of his spiritual and creative adventures. For him, his journey to this dinner has been full of magic, mystery, serendipity and travel to exotic locations including India and even a Saharan Oasis. The restaurant is quite nice but it is still remarkably banal compared to Andre’s monstrous hallucinations and descriptions of his process of personal exploration. It culminates in a description of being buried alive in Montauk, NY. From that point on, Andre becomes surprised by his own reactions to things in his life. He even begins to look at himself and the sort of person who would spend his time the way he has. People in his life who he called friends, repulse him. Figures on television appear to be objectively horrible people. He says,

And I suddenly had this feeling I was just as creepy as they were…and that my whole life had been a sham…

…

I mean, I really feel that I'm just washed up, wiped out. I feel I've just squandered my life.

Moments later he goes on to say,

Well, you know, I may be in a very emotional state right now, Wally.…but since I've come back home I've just been finding the world we're living in…more and more upsetting.

It’s as though Andre has a new perception of the world that is in stark contrast to his former self. He’s alone in this perspective until he sees a woman working in the theater who recognizes the trouble on his face. Where everyone else he encountered commented on how great he looked, this woman somehow knew by looking at him, the emotional state he was in. Because of this woman’s recent loss of her mother, she was able to see him clearly. Andre says,

She didn't know anything about what I'd been going through. But the other people, what they saw was this tan, or this shirt…or the fact that the shirt goes well with the tan.

So they said, " Gee, you look wonderful." Now, they're living in an insane dreamworld.

They're not looking.

That seems very strange to me. Right, because they just didn'ts ee anything, somehow.…except, uh, the few little things that they wanted to see.

All of this has resonated with me very personally. I similarly feel as though my perspective on the world has shifted and it has made me incompatible with things as they are and people who aren’t looking. It’s as though my prior life was a dream, honestly. When I think of how I thought about the world and other people for most of my life, I also hate that prior self. I agree with Andre that that earlier version of myself inhabited an insane dreamworld. Andre describes it using the example of his dying mother. Although she was terminally ill and appeared only minutes away from death, the specialist was beaming at all the progress she was making. For this doctor, he had so narrowed his goals/perception to her arm that any healing on that front was cause for celebration. Insane.

I mean, we're just walking around in some kind of fog. I think we're all in a trance. We're walking around like zombies. I don't…I don't think we're even aware of ourselves or our own reaction to things.

We…We're just going around all day like unconscious machines…and meanwhile there's all of this rage and worry and uneasiness…just building up and building up inside us.

And later, Andre continues to describe this state of mind:

Isn't it amazing how often a doctor…will live up to our expectation of how a doctor should look? When you see a terrorist on television, he looks just like a terrorist. I mean, we live in a world in which fathers…or single people, or artists…are all trying to live up to someone's fantasy…of how a father, or a single person,or an artist should look and behave.

They all act as if they know exactly how they ought to conduct themselves…at every single moment…and they all seem totally self-confident.

For two men involved in theater, they are approaching the idea that who we fashion ourselves to be, is selected from clearly defined character behaviors and appearance. For an actor, it must be disturbing for there to be no leap between the actor and the character. Why is it that someone who adopts the role of artist in real life, chooses to look like what we expect? As average people in our world, we’re acting our roles as they have been defined for us by someone else. This should be alarming to everyone and not just Andre and Wally.

I mean, we just put no value at all on perceiving reality. I mean, on the contrary, this incredible emphasis that we all place now.…on our so-called careers…automatically makes perceiving reality a very low priority…because if your life is organized around trying to be successful in a career…well, it just doesn't matter what you perceive or what you experience. You can really sort of shut your mind off for years ahead, in a way. You can sort of turn on the automatic pilot.

How many of us are doing this right now? I did it for many years, always overlooking the here and now for some future reward that all of it was building towards. I also think if your focus is on a career, it’s less on the experience and wisdom needed to fully embody that role. This is why this is such a great film. It may not wow you with realistic explosions but it challenges you to question your view on your life and your world. You shouldn’t be content with the way things are. If you are, you are part of a very fortunate few and you may be overlooking much of the world to do so.

people's concentration is on their goals.…in their life they just live each moment by habit.

…

And if you're just operating by habit…then you're not really living. I mean, you know, in Sanskrit, the root of the verb " to be".…is the same as " to grow" or " to make grow. "

This is something I think about a lot. I live as a cartoonist dedicated to writing and drawing and designing and promoting and tweeting and posting and editing etc. in a driving need to produce, produce, produce. Am I really living? I don’t think so. It’s okay to admit it. This wasn’t a world of my creation but if I’m alive and active in it, I can change it. This film gave me a way to understand the things that I’ve gone through over the last few years. Without art, I wouldn’t have evidence that others have been where I stand. I feel less alone and more hopeful.

Wally talks about the need for escapism and comfort from art against the harsh reality of every day life. The choice is to create art that is comforting but for all its warmth, fails to acknowledge reality and might contribute to a collective disengaging with reality and most importantly, each other.

…we're starving because we're so cut off from contact with reality…that we're not getting any real sustenance,'cause we don't see the world. We don't see ourselves. We don't see how our actions affect other people.

This is heady stuff, for sure. All of this is to get us thinking about the nature of our lives and really see the things we’ve chosen for ourselves. To truly be free is to be able to think outside the characters and roles defined for us…even the ones we think we chose but didn’t create. Only by looking at ourselves honestly and as objectively as possible can we see how far from our own humanity we have come. Andre went through a personal crisis in which he went through a dramatization of his own death and rebirth. The fresh eyes this has given him as illuminated a very dark reality. There are no fancy distractions in this film because it is a battle cry for humanity’s future. Under the guise of a polite conversation about things most average people would discount as having no bearing on reality is actually about a fundamental reality that has changed without our conscious consent. His advise:

Get out of here.

…

the 1960s.…represented the last burst of the human being before he was extinguished…and that this is the beginning of the rest of the future, now…and that from now on there'll simply be all these robots walking around…feeling nothing, thinking nothing. And there'll be nobody left almost to remind them.…that there once was a species called a human being…with feelings and thoughts…and that history and memory are right now being erased…and soon nobody will really remember.…that life existed on the planet.

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themeatlife · 4 years

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the Meat Life Stay-At-Home Watchlist

Chronicling what I have watched or rewatched through the pandemic so far

The world has changed around us the last few months, particularly in the United States since March 11. With the lack of events to hit up, like most Americans I’ve been catching up on some watching through the various streaming services and my own digital copies of movies and shows.

I didn’t really think of keeping up with what I have been watching until just recently, but here is what I can remember hitting up so far since I’ve spent the majority of the time at home. Some are favorites that I would have watched anyway. Some were unfinished until I got a chance to get back to them. And others just became available.

Here’s what I remember of the watchlist:

The Office (Netfilx) This is a favorite of me and the wife. We watch this on the regular though. My wife uses The Office as her lullaby of sorts, putting it on in the evening as she gets ready for bed and is in bed to fall asleep. I did a post on the 15th anniversary, so I won’t really deep-dive.

Gossip Girl (Netflix) Another one that my wife rotates with The Office as her lullaby. The series is not bad, it’s basically The OC in Manhattan (both are created and developed by Josh Schwartz). It also takes on a new perspective when you think about star Penn Badgley is the creep in You. So Dan Humphrey gets this weird creeper Joe Goldberg vibe at times.

Parks and Recreation (Netflix) I never got into Parks and Rec on its original run. I was encouraged to check it out by some coworkers since I liked The Office. It is a great show, very funny, and poignant in a way. It feels like a throwback to when people could disagree politically and still get along. There is a lot less of that nowadays. We might need more Parks and Rec in real life. I started this right before the pandemic and finished around the beginning of things getting locked down.

Frozen II (Disney+) The sequel debuted on Disney+ early on in the quarantine period. My family enjoyed it. I thought it was entertaining, but I felt like it was weighted down a bit by the mythology explaining. It seemed too busy explaining a lot of things. Still an enjoyable movie, but the first is better.

Tiger King: Murder, Mayhem, and Madness (Netflix) Intriguing. The series debuted early in the quarantine period and became a staple of stay-at-home viewing and a runaway hit. Lots of WTF moments. It was like the train wreck analogy to the Nth degree. But you can tell it was made in a way that leans in favor of Joe Exotic, making him look like a victim in the last couple episodes. Also gave way to memorable memes ever since.

The Rocketeer (Disney+) I haven’t watched this movie since I was a kid. Looking back, you can see a lot of The Rocketeer in Captain America - The First Avenger. Easy to see though, since they share the same director Joe Johnston. Prior to America’s involvement in World War II, a movie star Nazi goes after an experimental rocket pack developed by Howard Hughes. The rocket pack is retrieved by accident from a down on luck stunt pilot. Fun movie.

Star Wars: The Rise of Skywalker (Disney+) I should have watched the entire Skywalker saga leading up to it, but I figured I have a ton of time to do that later. This was a May the 4th watch. I haven’t watched the Skywalker saga finale since it was in theaters. It’s not a bad movie, I just feel it could have been a lot better with some modifications here and there. Also, I believe this was going to be the Leia movie. The Force Awakens was Han’s swan song, as was The Last Jedi for Luke. I feel like this would have been great for Leia but obviously they were limited due to the untimely death of Carrie Fisher. The scene where Ren/Ben speaks with Han after battling Rey would have hit harder with Leia instead of Han.

Trolls: World Tour (VOD) Cute kid movie. Was nice to hear a lot of familiar music. Sucks that rock was the villain in the first couple acts. Seeing it once was enough, though. Like the first Trolls, I am glad my kids enjoyed it but did not participate in excessive multiple viewings.

Onward (Disney+) Didn’t get a chance to catch this at the theater before they closed them down. Great movie, but gosh. Why does Pixar always pull at the heart strings like that? I was quietly crying to myself at the end. I’m glad we made our living room dark theater-style, otherwise my kids would have seen me all torn up.

Fast and Furious 5-7 (Fast Five - HBO, The Fast and the Furious 6/Furious 7 - Digital) I ended up not watching the entire series. There is a great trilogy within the series, 5-7 was that trilogy. Fast Five was the best of the FF franchise and where it perfected their movie formula. It was like an action Ocean’s Eleven with cars. 6 and 7 expanded on that formula, upping the humor and ridiculousness factor. 6 had the exits of the Han and Gisele characters (they found a way to tie in Tokyo Drift to the rest of the series, Gal Gadot was on her way to becoming Wonder Woman for DC). And 7 had that great ending with the tribute to Paul Walker to the sounds of Wiz Khalifa and Charlie Puth.

Toy Story 4 (Disney+) Another Pixar hit. Didn’t hit me quite as hard as Onward or Toy Story 3 did emotionally, thank goodness. I thought this story was over the way Toy Story 3 ended. But Pixar did a good job adapting to prolong these characters stories. It did feel like it was a bit of two and three combined looking back. Still very good, Pixar knows what it’s doing.

The Marvel Infinity Saga (Disney+/Netflix/Digital) Leading up to the one-year anniversary of the release of Avengers: Endgame, I went through and rewatched all 23 MCU movies. This time, I went in chronological story order by starting with Captain America - The First Avenger. I chronicled the order I watched in my last post. Even after viewing many of these movies multiple times, I’m still amazed at how much I enjoy them and the scope of what Marvel was able to achieve leading into the climax in Endgame.

Community (Netflix/Hulu) I loved Community on its initial run on NBC but never watched any of the episodes when it was on Yahoo for its sixth season. It has been great to rewatch the meta-humor and sitcom trope parodies. And since Ken Jeong and Joel McHale started their own podcast called The Darkest Timeline (half COVID-19, half Community pod), it has been a good companion viewing.

The Back to the Future Trilogy (Netflix) Recent add to Netflix for easy viewing, these movies have been a favorite of the Mitra boys since childhood. Upon viewing as an adult, there is some humor that I didn’t recognize as a kid that is hilarious to me now. It is also crazy how well this teen time-travel sci-fi comedy works. Some of the effects in Part 2 are dated and 2015 didn’t quite end up the way it did in the movies. But overall very enjoyable on the rewatch!

Extraction (Netflix) High budget action flick funded by Netflix? Written by the Russo Brothers? And staring Chris Hemsworth? I’m in! Directed by long-time stunt man and Russo Bros go-to stunt coordinator Sam Hargrave (you can tell the Russo influence). It has an awesome 15ish minute one-shot action/chase sequence that is top notch. Don’t think much about the plot or the controversy of cultural representation, just enjoy the action.

The Mighty Ducks Trilogy (HBO) Another childhood favorite of mine. Nevermind that the hockey itself isn’t accurate. This is about pure fun for an hour and a half at a time. Come for the hi-jinx, stay for the heart. Triple-deke, knuckle-puck, taking out the trash. And leave it out on the ice!

The Harry Potter Series (Blu-Ray/Digital) This was not a go-to for me until Linda made me watch the entire series. I guess when the first movie came out, it was too much of a kid movie for me (I was a high school senior at the time). But from the second movie onward, it felt like the storytelling and movie making got better and better. The Deathly Hallows was an epic ending, even if they did change the ending from the book. I didn’t watch the newer Fantastic Beasts movies along with this though, my wife did.

Westworld - Season 3 (HBO) Recently got HBO back, so I caught up on Westworld Season 3. I haven’t rewatched the previous seasons yet, but I may revisit it soon. Season 1 was spectacular, Season 2 was confusing as hell but still entertaining. Season 3 is somewhere in between, expanding on the ongoing storyline. It was more straight-forward because its storyline is in the “real-world.” For those of you that have watched, didn’t you think it was highly ironic that the Incite ball was basically the AT&T logo? (AT&T is the parent company for WarnerMedia and HBO)

The Last Dance (ESPN/ESPN+) The Michael Jordan docu-series has been a god-sent for sports fans devoid of live American sports for the past couple months. Is it Jordan-biased? Sure. But it is full of drama and intrigue and full of nostalgia. The NBA had commissioned a camera crew to follow the 1997-1998 Chicago Bulls on their run for their sixth NBA championship. Jordan owned the controlling rights to the footage and unlocked it after the 2016 NBA Finals. So this documentary was years in the making and with the pandemic the release date was moved up. Although it featured a lot of unseen footage, it also chronicled the years leading up to the 1998 Bulls title. The last 5 Sundays have been awesome.

The Princess Bride (Disney+) I haven’t watched this movie since I was a kid. It wasn’t one of my recurring watches back then. So this was actually my second viewing of this movie ever. I found it quite enjoyable. It was cheesy, but fun, and a good family watch. One of the many older titles available on Disney+.

Scoob (VOD) My kids had some of the older Scooby Doo episodes on DVD and watched them when they were younger. This was a fun revisit for them and for us as parents. It was actually cool seeing a lot of the Hanna-Barbera characters in one movie. We watched this shortly after finishing Community, and my kids recognized Ken Jeong’s voice as Dynomutt. My daughter hilariously shouted “Senor Chang!” when she recognized him.

The Indiana Jones Series (Netflix) I introduced my son to Indiana Jones a few months ago watching Raiders of the Lost Ark. He loved it. He lost a little bit of interest during the Temple of Doom, I think the character Short Round lost it for him (character hasn’t aged well). The Last Crusade reclaimed his interest. Harrison Ford was at his natural apex playing Indiana Jones. I did not watch the Kingdom of the Crystal Skull. I didn’t feel the need to revisit that installment, while it was enjoyable the alien ending ruined the lead up to it.

The Dark Knight Trilogy (Batman Begins/The Dark Knight - Hulu, The Dark Knight Rises - Digital) Every few years I try to revisit this series. It is the best thing DC has ever put out cinematically. While Begins and Rises is more comic book, TDK is a straight crime drama set in the world of Batman. My favorite is Rises, but the absolute best comic book movie remains The Dark Knight, even with the advent of the Marvel Cinematic Universe.

Jurassic Park/Jurassic World Series (Jurassic Park/The Lost World: Jurassic Park - Blu-Ray, Jurassic World - Digital, Jurassic World: Fallen Kingdom - Cinemax) The original Jurassic Park is such a great movie. Rewatching, it’s crazy how well the effects for the dinosaurs hold up. Steven Spielberg, Stan Winston, and ILM did a great job mixing animatronic and CGI dino effects that stand the test of time. The Lost World was enjoyable but not as good as the original. I skipped JP III, such a bad movie. Jurassic World was a good way to reboot the series, basically a remake of the original but incorporating a lot of references to it. I just finished Fallen Kingdom today. Although Fallen Kingdom was entertaining, it fails to recapture some of the magic of JP and JW.

I’m not sure what I will hit up next. I might hit some Keanu Reeves movies like Speed, the Matrix Trilogy, and/or the John Wick Trilogy. Maybe Top Gun. Maybe rewatch Friends or How I Met Your Mother. Maybe something on HBO Max when it comes out like The Fresh Prince of Bel-Air. Maybe Terminator. Possibilities are endless, at least until some American sports return.

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arcticdementor · 5 years

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It’s all down to racism.

And sexism.

And bullying.

And, of course, damaging to their mental health.

Yes, poor downtrodden vulnerable innocent Meghan and Harry have been suffering the full gamut of victimhood issues, as befits the most woke, over-sensitive, woe-is-me couple in the world.

That’s why they want to get off the royal train, we’re told.

Except they don’t want to get off it at all.

They just want to get off the boring bits.

…

I’ve been watching this unedifying saga unfurl over the past few days with mounting fury.

Predominantly, at the disgracefully disrespectful way the Duke and Duchess of Sussex are treating Her Majesty the Queen.

How dare they try to lay down the law to our long-serving Monarch in this way?

How dare they not inform her about their demands before telling the world?

And how dare they so arrogantly announce they’re going to pursue a more ‘progressive’ agenda for the Royal Family without having the courtesy to run it past a woman who has presided on the throne for more than six decades - and done a magnificent job of it.

But I’m also enraged by the specific growing narrative that the only reason Meghan’s been so harshly criticised by the media is because we’re all a bunch of racists living in a racist country.

That’s just a downright lie.

And a particularly nasty, disingenuous lie.

…

This extraordinary tidal wave of goodwill continued through to the big wedding in May 2018, which by common consent was a triumph.

As I wrote myself in the Daily Mail the following day, ‘it mixed the best of traditional British pomp and majesty with large dollops of Markle Sparkle and the result was a biracial, Hollywood-fused union of very different cultures that worked magnificently well.’

I added: ‘It’s hard to overstate the significance of this ceremony, beamed live around the world, to black people everywhere. To borrow the words of Dr King, this was a day when little black girls could watch TV and genuinely share little white girls’ long-held dreams of one day marrying a Prince.’

These, I would politely suggest, do not indicate the thoughts of a racist.

Yet that is what I, and others working in the British media, have now been shamefully branded for daring to criticise Meghan for her erratic conduct – and Harry’s - since the wedding, which has been spectacularly ill-advised.

…

I don’t have any issue with Meghan Markle because of her skin colour, or her gender.

But I do have a lot of issues with the way she has behaved and treated people since marrying Harry, and with Harry too.

As I have said many times, I’ve sadly come to the conclusion Meghan’s a selfish, ruthless social climber who’s spent her life using and dropping people, and is now doing it to the royals.

I also think Harry’s become a weak, whiny, miserable, entitled parody of the fun-loving army prince we all loved. And I don’t say that because I am ‘gingerist’.

Now they’re bleating about being ‘bullied’ as they themselves are trying to bully the Queen into turning the Monarchy ‘woke’.

And they’re bleating about sexism and racism despite the fact that other royal women like Camilla Parker-Bowles, Diana and Fergie all had ten times more criticism than Meghan, and last time I checked they all identified as white.

Yet this cold hard fact hasn’t stopped a Twitter-driven bandwagon developing that says criticism of Ms Markle is racist.

…

She cites as examples of the supposed press racism two things that appeared in the Daily Mail.

The first was a headline saying she was ‘(almost) straight outta Compton’, one of the most gang-ravaged parts of America in south central Los Angeles, immortalised in a rap movie.

But that’s not racist; Meghan comes from Crenshaw, just a few miles from Compton, and also a place with a lot of gang-related crime. This wasn’t used as a stick to racially beat her, but as simply an interesting observation about her very different upbringing to normal royal brides.

…

The reality is that Meghan and Harry have brought this ugly situation entirely on themselves and should somehow find the strength in their faux-victim-ravaged, virtue-signalling, self-obsessed souls to admit it has nothing to do with racism and everything to do with their fragile egos and a simmering feud with the Duke and Duchess of Cambridge who will always be more important in the Royal Family as they will one day be King and Queen.

By crying ‘RACISTS!’ in the face of perfectly legitimate criticism, this petulant duo has made a mockery of true victims of racism.

Shame on them, and all those who promote this grotesquely false smear.

#piers morgan #daily mail #read the whole thing #mad monarchist said the same thing back when the wedding first happened #it's not about race #it's that she's an american commoner from hollywood

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alwaysahiccupandastrid · 6 years

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“Us” (2019) - Thoughts (SPOILERS!)

So I watched Jordan Peele’s “Us” today at the cinema and I just need to get some stuff off my chest about it because I went alone and have no one to discuss it with xD

Please do NOT read if you want to avoid SPOILERS!!!!

This movie creeped the fuck out of me - it wasn’t a particularly jumpscare-filled movie but it was creepy as fuck

So the movie opens with Adelaide going to this funfair/amusement park and wandering off into a house of mirrors. There she meets an exact clone of herself (Red) and she’s not the same since. She’s traumatized and can’t really speak about it, though they say she takes up dance or something as a way to express herself

That opening with the creepy choir music and rabbits? What the fuck? I did not need that nightmare fuel?? :))

I literally had no idea about the amount of tunnels that are apparently under America but woW OKAY THAT’S NOT UNSETTLING AT ALL

Fast forward to present day and she’s an adult with a husband and kids, and they’re at the beach where the above stuff happened, and she’s super freaked out about it.

The Tyler family are literally so white privilege - and I say that as a white person. It’s fucking hilarious. “It’s vodka o’clock” - lmao that really is such a white thing to say

Also the twins?? They were Ross and Rachel’s daughter, Emma, in Friends when they were babies??

I actually liked most of the humour to be honest, it kind of lulled you into a false sense of security

Zora pretending to turn off her phone and then continuing to use it once her mom had gone was so relatable tbh

I probably shouldn’t have taken my glasses off and redone my hair at the exact moment the Tethered people showed up because I’m blind as a bat and it was a blur for a full minute whilst I tried to rearrange my goddamn headband

Pluto (Jason’s ‘Other/Tethered’ person) was literally so fucking creepy; maybe it was the mask, maybe the movements, maybe everything put together...but holy S H I T. NIGHTMARE FUEL

The story that Red was telling about the shadow?? Y I K E S.

Also Red needs to drink some water, it was super unsettling

I’m never going to look at scissors the same way again

Yo the Tylers getting murdered happened so fast WTAF

Love how we were tricked into “oh they’re out there?? oh no they’re not, haha cool...fUCK o_O”

I probably should not have laughed so hard when Kitty called out to “Ophelia” to “phone the police” and it went “now playing fuck the police” XD

Also “Ophelia”?? I see you with your “Alexa” parody, movie!

Can I just say that the twins and their Tethered selves doing gymnastics freaked me out way more than anything else in any other horror movie yIKES

The scene where Kitty’s doppelgänger (Dahlia I think?) puts on lipstick, goes to hurt Adelaide but then cuts her own face open instead and laughs?? Literal chills, man

Being a gore fan, I really appreciate the sheer amount of blood in this film, 11/10 high-key recommend

I can’t believe that every time we eat anything, the Tethered versions of ourselves have to eat raw rabbit like??? gross?? definitely not having nightmares about that...

The white people’s boat is called B’Yacht’ch I fucking cannot

Also usually in horror movies, it’s a cliché that the “token black person” dies first but in this film it’s the irritating white people who all die, and all of the black family survive this is good content

The soundtrack is A+

The fight scene/dance duel scene? With the remix of “I got 5 on it”? BEAUTIFUL. POETIC CINEMA I SWEAR

THE TWIST AT THE END BYE

I am so confused and questioning everything I know, what the fuck Jordan Peele

Okay so the “twist” deserves it’s own section because bitch the FUCK

So the huge twist (SPOILER SPOILER SPOILER) is that Adelaide and Red switched places right at the start of the movie - so the person who we think is Adelaide is actually Red, and vice versa

I’m not saying the twist was bad but I kinda knew already that Adelaide and Red were switched at the beginning of the movie - I mean the moment is heavily implied in the trailer!

I think they drop so many hints/clues throughout the film that it starts to add up quickly

First of all, the fact that Adelaide-who-is-really-Red only drinks water and barely eats anything. Like she repeatedly refuses to drink any alcohol too

It’s mentioned that Adelaide-who-is-really-Red doesn’t talk a lot, and at first it’s like “oh it’s the trauma of whatever happened in the funhouse” but then it makes sense that it’s actually Red

Adelaide-who-is-really-Red REALLY did not want to be back at that beach - again you assume it’s because “trauma” but nah, it’s because she knows what she did

The way Adelaide-who-is-really-Red killed one of the doppelgängers was kinda reminiscent of how the Tethered were killing people

The story that Red-who-is-really-Adelaide tells about giving birth to those ‘monsters’ seems oddly human for something supposedly without a soul (since she mentions that the experiments duplicated the human body but they couldn’t do the soul) - and then it’s like “...oh fuck”

Red-who-is-really-Adelaide knows that ‘real’ people eat proper food because she ate it herself; ‘real’ children get proper toys because she did too, etc.

The reason that Red-who-is-really-Adelaide’s voice is so hoarse/raspy is because Adelaide-who-is-really-Red choked her into unconsciousness before taking her place

To add, Red-who-is-really-Adelaide is the only ‘Tethered’ who can actually talk

The fact that the beginning of the movie shows Red-who-is-really-Adelaide watching an advert for People of America on TV (the people holding hands across the country), it’s on her t-shirt when the switch happens and then that’s exactly what the Tethered start to do. Also, near the end of the film, you see her cutting up those paper-chain-people who are holding hands

The Thriller t-shirt; right at the end of the Thriller music video, there’s the whole identity question of “is he who we think he is”? (I think)

So, here are a few gripes I had despite overall liking the movie;

It started off kinda slow, which was good in some ways because of tension and character establishment etc, but putting a whole two to three minutes opening credits thing really slowed it down a lot after the opening (though I did like the soundtrack during those credits)

Despite the switch being relatively well-done and a good twist, it just seemed really obvious after seeing the trailer

The twist sort of brought some plotholes but I’m going to bring that up in my question section in a sec since it may be intentional (you’ll know what I mean in a second)

I feel like a few times during the film, it was building up tension to be terrifying/scary but then the “punch”, as it were, came too soon to reach its full potential - like it peaked a tad too early

Finally, questions I have after the movie! (and boy, do I have questions)

Does Red-who-is-really-Adelaide not know that she’s not one of the Tethered? Did she forget completely? Like why does she want and plan to kill all “normal” humans? She must retain SOME memory because she talks about food/toys, plus the People of America/holding hands thing.

Also does Adelaide-who-is-really-Red not remember that she’s one of the Tethered at all before the end of the film?

The Tethered are all shadows of the “normal” people (for lack of a better phrase), so why is Adelaide-who-is-really-Red able to a) speak normally, b) dance so well, c) move more “normally”? And why does Red-who-is-really-Adelaide not move “normally” (eg. the dance parallel) when she’s “normal”?

^^ I wonder if over time they both forgot or repressed those memories, and only fragments remained. And then Adelaide-who-is-really-Red only remembers at the end that she’s actually a Tethered-person.

Adelaide-who-is-really-Red is a Tethered-person, right? So does that mean that the “normal” Zora and Jason are half-Tethered? Is that why they manage to survive so well or...?

Why does Red-who-is-really-Adelaide want to kill everyone in the outer-world? Is this supposed to reflect not separating “us” vs “them” or something? She clearly got loose from being cuffed to the bed, so why didn’t she escape after and go back home?

^Also, who uncuffed her? And why? Was it the Tethered?

Sometimes it’s like the Tethered completely mirror the “normal” versions, and then other times they don’t. Which is it? Why?

What happens next?? What is the purpose of the Tethered all holding hands in a line? What are they hoping to achieve? Are they trying to send a message?

Jason seems to realize that Adelaide-who-is-really-Red is...well, actually Red - and so does she now. What impact does this have? Is she going to go crazy and kill her family?

Do Tethered have feelings? Or emotions? Because Adelaide-who-is-really-Red married Gabe so...? You know?

Is the fact that neither of them remember the switch that well/they both adapted supposed to signify that souls aren’t a real thing?? Because supposedly that’s what the Tethered lack?

Are there Tethered for ALL of America or just Santa Cruz? And what about the rest of the world? Do I have a Tethered-version of myself??

Finally, if there is a Tethered version of me out there, I’m sorry for eating so much since that means you’ve had to eat a fuck ton of raw rabbit :’( Please don’t kill me, we can be friends!

Overall, though, I did enjoy the movie! :)

#SPOILERS #us #us movie #Jordan peele #long post is long #this took over an hour to write but now my brain is somewhat cleansed #this is all I could think of from the top of my head

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kindabraveandlittlestupid · 6 years

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A love/hate review of the Star Wars The Last Jedi and also the disappointment in corporate Disney trimming the extended universe away from the Star Wars. Just to be clear, I don’t stand with those toxic males of the web who attacked Daisy Ridley, Kelly Marie Tran and the rest of the cast/crew. The movie is a work of fiction and I above all other emotions value decency as the foundation of my views and beliefs (or at least I try to make that my foundation). I am gonna share my opinions/views as always, I am just a guy on the web with little power what Hollywood makes. If you agree with me, that's great! And if you don't, that's fine too.

Goodbye J. J. (Hate) My first complaint is the change of direction from the first movie. J.J. Abrams had managed to establish some worthwhile intrigue with the characters/plot like Rey's background, the hunt for Luke, and Finn's moral crisis. Seemingly the new director/writer decided to take a step away from these established storylines/characters to explore his own take on these things. Luke is no longer interested in the good fight and embraces apathy, Rey comes from nowhere/no one, and Finns short coma results in him having the same cowardly acts from the first movie instead of giving him personal growth after his heroics at Starkiller Base. It's like whiplash where you have had expectations of these story/plot threads being followed only to have them be ignored or to become completely unremarkable in the next film.

Rose & Paige Tico (Love) I admit there is a lot of things about this movie that rubbed me the wrong way but the addition of Rose was not one of them. The Star Wars has always suffered from a lack of female characters in the movies and they seem to be making some strides to balance out the gender scales. She provided a new character to focus on away from the Roguish Pilot and the Ex-Stormtrooper giving us the optimistic/loveable Mechanic that we could invest out feelings in (which reminded me of another sci-fi female mechanic who I wish I saw more on screen).

What upset me about Rose was the fact I wanted to know MORE about her backstory and her relationship with her sister, Paige. The geek in me would love to have some webisodes dedicated to their relationship (as well as other characters) and how they got into the rebellion in the first place but alas the story relegated her to a secondary plot line on a gambling planet that showed off rich people being assholes which was ultimately pointless to the storyline and failed to further the plot.

I look forward to seeing how they develop her in the next movie, considering so few people are left in the Rebellion... I mean Resistance. On a parting thought, I am still not sure about the Fin/Rose kiss they tried to apply to the movie... felt a little forced if you ask me.

Marvel Humor (Hate) There is a noticeable change to the formula of the Star Wars movies and we know this new formula very well. Disney has been enjoying the tidal wave of cash coming in from the MCU with movies like the Avengers, Ironman, Thor, Guardians of the Galaxy and so on which brings in billions (with a B) into the Magical Kingdom. Naturally, they think they struck gold (which they have) but now they are taking that Marvel Universe humor and projecting it into other franchises they own to try and milk money out of them.

This was on full display in Star Wars with the ‘prank call’ Poe used while talking to Hux. This universe enjoyed some banter in its previous movies but this very scene seemed foreign in the Star Wars Universe. As if Hux wouldn't have a laser cannon blow Poe right up. The movie continued to layer more and more MCU humor into the movie with Chewie eating the Porg in front of other horrified Porgs, Luke throwing a lightsaber nonchalantly over his shoulder, and tickling Rey with a piece of grass.

Granted there wasn't AS MUCH humor as you might see in Guardians or Ironman but they are starting to inject it into the films and in my opinion, it undermines the quality of the movie and the universe quite a bit by trying to make it something its not. This is why I enjoyed the grittier Rogue One so much that applied some humor with the android K-2SO but didn't allow shtick with other characters (which was good).

The point is their Gold Equation of humor connecting to the audience shouldn't be transplanted so easily from one franchise to the next, it robs the authenticity of Star Wars and what we know and love.

Vice Admiral Holdo (Love/Hate) Such a disappointing end to what could have been a good transfer of authority to a new female lead. I know we all mourn the death of Carrie Fisher and I appreciate the Luke and Lei scene at the end but the introduction of Holdo only to have her kamikaze the cruiser left me wondering why even make her a part of the movie? I mean really... her fight with Poe and his tactics could have carried into the next film, having her fill in as the new leader of the rebellion would have created a new strong female character and the very ‘heroic’ death she was given could have been done by Leia or Admiral Fucking Ackbar which would have been 10 times better then a random character added only to be killed off.

I blame this (like most things) on Director Rian Johnson who thought he was being clever but making the audience think "Oh she must be taking over for Leia!" only to kill her off as a sort of low-level plot twist. Frankly, it came off as less of a twist and instead of a pointless removal for an otherwise interesting character who could have moved onto the next movie.

Rey and Kylo Tag Team (Love) This might be hands down one of the best lightsaber fight scenes in the Star Wars Universe. If I am going to give the director any credit, it will be for giving us this gem of a scene where Kylo turns on his Master Snoke. This is the sort of action I crave to see in the Star Wars movies and making me wish (badly) that there was a Knight of the Old Republic film in the making. Hell, I just watched it again on Youtube just to remind myself how awesome it was.

Rey and Kylo Shipping (Hate) On the other hand with the whole force connection thing between Kylo and Rey, the idea of them being attracted to each other felt like a betrayal to well... Rey’s logic and mortality. Let us assume she has some attraction to Kylo would she have forgotten everything he did in the previous movie? Destruction of two villages on Jaku, slashing her new best friend in the back (Finn), stabbing her new father figure (Han) thru the chest, killing Lukes students, attempting to torture her for information and lastly being part of the First Order after shooting off Starkiller Base that destroyed 4 inhabited planets with billions (with a B) of lives on said planets? I know Rey might have temptations to the dark side but for fuck sake is she turned on by a literal genocidal maniac?

Rian Johnson & Disney Scaling Back the SWU (Hate) I realized this review is leaning more towards the Dark Side then the Light but I agree with some of the fanboys sentiment on the destruction of the Star Wars Universe. I am not sure if Rian is to blame 100%, I know Disney decided to cut all books, comics, and video games as NOT canon in the SWU but he seemed to have his hand in it with each rebel ship blown to pieces while escaping the Imperial... I mean First Order fleet.

This was hard for me to some degree, I played games like Knight of the Old Republic, The Force Unleashed, Jedi Academy, Shadows of the Empire, Republic Commando and read dozens of comics and books over the years. An yet because the franchise switched hands from Lucas to Disney and Disney had no hand in building all the extended universe they simply cut it away and said: “Nope! None of that counts”. I can understand why some people might get upset having invested time into exploring the Star Wars Universe only to have to evaporate before them like Thanos’s Infinity snap.

Rian drove this point home in the movie burning the Jedi texts (which contents weren't really important but symbolic of the Jedi Philosophy no longer being part of Star Wars), decimating the Rebels (Resistance) to the point the remainder all fit onto the Millennium Falcon, and even killed off or sent away new additions that could have helped expand the new trilogy into something great. Porg Plushies (Hate) *Sigh* I don’t like adding another hate to the list but few things in this movie made me personally feel good about it. We killed off interesting characters (Phasma and Holdo), had pointless side plots on Canto Bight (the Gambling Planet) and the scaling back of a great extended universe. An then we had the addition of Porgs...

I don’t dislike the concept of the Porgs, in fact, these puffin/otter hybrids are kinda cute. I dislike them as they seemed to have the pretty clear purpose of moving merchandise. Now, this isn't new for Star Wars if you know cinema you know that Lucas was highly protective of his own toy sales which is how Spaceballs was able to parody Star Wars so much as long as they didn't sell their own toys. They use the word Toyetic for this very thing of making a character or thing so they can move product off the shelves. Its why the Batmobile had so many changes with each passing movie in the 90′s.

The Porgs are no different, they maxed out the BB8 toy sales from the last movie and introduced an animal to sell plushies, slippers, bobbleheads and backpacks for kids and geeky adults. I am honestly not a fan of this sort of capitalism being pushed off thru movies but there it is and I am sure when episode 9 comes out there will be something new for them to sell us.

DJ (Love) Despite there being literally no good reason for DJ (Benicio del Toro) being in this movie with the pointless side quest on Canto Bight. This character might have some potential for future movies. We certainly explored the good smuggler scoundrel with Han Solo and Lando Calrissian but never explored the bad smuggler element quite yet (save some in the Solo movie).

I particularly liked the whole part with him explaining the manufacturing of weapons for both the First Order and the Resistance. It was perhaps one of the most insightful moments in the movie that could have easily reflected back on our own failings in regards to war. Just like how Canto Bight reminds us that the scum of the Galaxy don't just reside at the bottom but also the top. I hope to see him again but I am not sure how they will explore him in the next plot.

Super Leia (Hate) Lord knows when Leia became adept in the force that she could survive in outer space let alone fly around like Superman! This scene seemed crafted for the trailers making everyone believe this would be the way to double down on the ‘Evil Kylo’ angle and writing Carrie Fisher out of the Star Wars Universe but instead she survives as another pointless twist just like Holdo being the one to ram the ship into The Supremecy or DJ betraying Finn and Rose for money.

Just reminder if you're in space; your air escapes your body (including your butt), the saliva in your mouth begins to boil, air is cut off to your brain, and all the blood vessels on the surface of your body would break. I am glad she didn't die and had another scene with Luke but due to poor writing and trailer bait, they decided to keep this horrible scene in the movie.

Shallowing (Hate) Beyond the new additions (Holdo, DJ, Rose), the reoccurring characters become shallow in their roles. As I said, Luke now doesn't give a shit despite having 30+ years to mature, Hux is reduced to a punching bag for Kylo, Kylo is still emo as ever, Rey is becoming a Mary Sue (or perhaps not with her floundering romance with a mass murder), Finn had the same "coward, not coward" story arc from the first film, Phasma disappointingly is defeated by FN 2178 a second time, Poe is now a one dimensional reckless flyboy, and Leia is secretly Kryptonian. Point is there is no meaningful personal conflict with the characters, not enough time spent with the new ones, and a few of their portrayal betray canon for either a laugh or just because they simply didn't care.

Conclusion The point is, I liked the Kylo/Rey lightsaber battle against the Bodyguards, I enjoyed the battles in space, the silent ramming of the Raddus at light speed into The Supremacy and I still loved the new character (Rose). Most of the problems in this film start not from the characters but from Disney scaling back the universe and the new Director who changed the narrative. It bothers me just a little that everyone is celebrating the film despite these major flaws and aren't more pissed off those decades of content has just been expelled from the Star Wars Universe in exchange for the new “Disney Star Wars Universe" we will be forced to live with. About the only thing that is safe is Chewie and thats because the Wookie doesnt age like actors do. Thanks for the read.

Regards Michael California

#Star Wars #The Last Jedi #MovieReview

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laetro · 4 years

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Samby Sayward: Comic Art that Celebrates Strength

Samby Sayward, the artist who manages to contain ‘boundless’ ideas on paper, battled her way through the hurdles of perfectionism and procrastination to reach greater heights and thrives for more! Her works are living proof of majestic works. The quirky and ambitious soul has worked on various projects and gained popularity with her ongoing comic series “Daughters of Grimm”.

Samby Sayward or more commonly known as Boundless Bard creates comics focused on female empowerment. She is a dogged person when it comes to working and does not fallibility as a reason to stop and suggests the future artists have a similar attitude towards their work. Sayward hopes her work inspires people from all backgrounds to be proud of who they are and to strive to make their wildest dreams come true.

ORDER CUSTOM ILLUSTRATION FROM SAMBY

Q. What was your childhood like and what made you, you?

Samby: I was such a quirky, scattered child! Constantly curious. Constantly jumping to the next “shiny” thing. I’m extremely lucky to have parents that tried to facilitate my exploration, while also teaching me to focus and direct my energy.

My mom is a pretty curious person herself, so she’d take my sister and me on themed library runs. Sometimes we’d do crafts like building a radio in a shoebox. We had to wrap the wires around the sink faucet to catch a signal, though it was still pretty garbled. My dad always tried to facilitate any interests with tools and instructors. When I latched on to comics, he took me to the bookstore and offered me any book I wanted. And when I wanted to go to college to make comics in Japan, he said, “OK!”

I never moved to Japan, but it just goes to show how incredibly supportive my family is. I changed my dream career multiple times a year for most of my childhood, and as long as I had a game plan for it, my parents cheered me on. And with all these different experiences to go off of, I think comics ended up the perfect industry for me. I don’t have to change careers every time I’ve got a new interest. I just explore it through my characters!

Q. Tell us something about yourself. About your journey of being an Artist.

Samby: I’ve been drawing as long as I can remember, with pretty much anything I could get my hands on. It started on scrap paper with crayons and markers. When my family saw my enthusiasm, I got sketchbooks and paint sets and colored pencils, anything “artsy” they could think of on every gift-giving holiday.

When in class, I drew my notes in the margins. When out to eat, I drew on napkins. When I entered the general workforce, I spent the minutes between shifts scribbling on receipt paper or paper plates in the breakroom. What’s more, my mind has always been my cinema. In grade school, I would spend months crafting serial stories in my dreams, watching the next part unfold each night as I drifted to sleep. And now I have the pleasure of crafting those stories during the day and sharing the finished products with the world. I’ve had a variety of aspirations throughout my life, but I think I was always meant to make comics. Now, I honestly can’t imagine doing anything else.

Q. What or who is your inspiration?

Samby: There are a lot of people, stories, experiences, art, and philosophies that have inspired me over the years. But if I had to bring it down to my top two inspirations, I’d say the combination of seeing people live and create authentically, and hearing that people reading my comics feel inspired to be themselves.

As much as I’ve had supportive influences in my life, I’ve also had people tell me I’m too much, or that my ideas are stupid, impossible, or too idealistic. I’ve even had people judge me to the point that I felt I needed to hide an integral part of who I am.

So seeing other people share their stories, inspires me to keep sharing mine. And when others accept my truth and resonate with it, it keeps that cycle of inspiration going — both to them and back to me.

Q. What inspired you to make comics on Badass Woman?

Samby: Honestly, a lifetime of stereotyped representation. With a few exceptions, I often had trouble getting into media that was marketed to girls and women. It always felt like a caricature that I couldn’t even relate to. When I turned to men and boys’ entertainment, I got stories that were more my speed, but the female characters were still parodies from a male perspective, or a fantasy “ideal”.

When I was younger, I thought that was just the way things were. I even took my action-packed story ideas and changed the protagonists to guys, since that’s all I saw in the stories I liked. But college did a lot to help me spread my creative wings, and around the time I started seriously pursuing comics as a career, I thought, “Screw it. I’m going to make the stories I want to see. With BADASS WOMEN.”

I think a lot of other women had the same epiphany because soon after, I was finding all sorts of movies, shows, and comics with badass female protagonists I could get behind. It’s awesome to see the plethora of stories and experiences that have been represented since. The media’s really heading in a cool direction now.

Q. Is there any specific reason why you make Badass woman comics?

Samby: It started out just as self-indulgence. I wanted to see myself in stories and genres that, historically, I had not. And I wanted to flip the script. To call out the tropes that belittled and objectified women.

I think my motivations have grown from that though. Seeing so many people relate to my work, and their excitement at feeling represented adds fuel to my creative fire. There’s a real need for diverse representation without stereotypes. And though my main focus is badass women, I really hope that over time I can give everyone that joy of seeing themselves in a story they love.

“When I was younger, I thought that was just the way things were. I even took my action-packed story ideas and changed the protagonists to guys, since that’s all I saw in the stories I liked. But college did a lot to help me spread my creative wings, and around the time I started seriously pursuing comics as a career, I thought, “Screw it. I’m going to make the stories I want to see. With BADASS WOMEN.”

Q. What’s your comic “Daughters of Grimm” about?

Samby: “Daughters of Grimm” is a coming of age story about five young women aiming to be heroes in a world that thinks them better as damsels. Set a few generations after the original Grimm fairy tales, each Daughter follows in the footsteps of a hero they idolize until a “Grimm” vision weaves their narratives together for a larger quest.

There are action and intrigue, swords and sorcery, and a cute goat to balance all the badassery. And if women breaking the mould to fight monsters, rule kingdoms, and become heroes intrigues you, you can read the full story to date for free on Webtoon! The introduction is wrapped up and I’ll be launching the first story arc in the spring.

Q. Are there any real-life experiences in your life where you considered yourself badass?

Samby: It’s funny, I don’t think I’ve thought about it before. But I think the times I’ve felt most badass are the big milestones of my career — printing my first comic, tabling my first convention, participating in my first panel, and receiving fan art for my comic series. Each achievement just reinforces the fact that I’m doing it. I’m really a comic pro!

Q. Do you always work on your personal projects or do you take clients’ work as well? If yes, what is it like to work with a client and how much freedom do you have in such projects?

Samby: When it comes to comic projects, I tend to stick to my personal work. But I have done some illustration work and variant covers for other comic creators. Honestly, those projects have been a blast! All my clients have given a lot of creative reigns, just giving some character references and a concept to work off of. And as fellow creators with similar goals, we often end up vibing and helping each other out with cross-promotion afterwards.

I’ll add though, I’m absolutely open to doing comic page work for the right project! I’m pretty hyped about a project pitch I got the other day from a client. It’s all the genres I’ve wanted to do and haven’t gotten to yet. We’ll just have to see if our schedules line up when the script is done.

Q. What’s the strongest female protagonist you have ever created in your comics and what’s the inspiration behind it?

Samby: So far, I think the strongest protagonist I’ve created is Emil from “Daughters of Grimm”. Not only can she take down a sea dragon solo, but also, she’s managed the task of posing as her brother for years! I think it takes a lot of internal strength to hide such a large part of yourself for so long.

Her character and struggle are largely inspired by my own experiences, both with gender roles and with the broader sense of trying to be myself while fitting in with others’ expectations.

Q. What are the projects you are currently working on or looking forward to work?

Samby: I’m currently writing the first main story arc of my fairytale series, Daughters of Grimm! Until now, the series has been made up of little short stories that introduce the world and characters. So it’s really exciting seeing all the characters and plots coming together. I can’t wait to finish it up and share it!

I’m also working on a YouTube channel and book to share some of the story planning and production techniques I’ve picked up over the years. Though I’ll be honest, I’m not sure when it’ll be ready. It’s a passion project I’m building between comic and commission work. But I’m definitely hoping the YouTube channel will be online soon(ish)!

Q. What is one tip or advice would you give to upcoming comic artists?

Samby: My advice is two-fold:

Don’t be afraid to get started, but also don’t be afraid to ‘finish’.

I think beginning artists get told that first bit a lot. “Make something! Just do it! You’ll figure things out along the way.” But in my experience, starting is much easier than finishing. And it’s finishing a project that really levels up your skills and lets you learn something.

My art leveled up more in my time outside of college than in it because in college I got so focused on perfection that I never finished anything. I never learned how to get that polished product.

#artists #laetro #art #supportartist

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ryanmeft · 7 years

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Paddington 2 Movie Review

Paddington 2 features silent movie style pratfalls in a barber shop, a mysterious quest following clues hidden in a pop up book, Hugh Grant dancing and singing in a pink prison uniform, and of course, good friends made via marmalade. It’s as though the little bear is saying “This is probably going to be a rough year, so have some laughs.” Oh, rest assured, the adventure is not without darkness and troubles. Paddington, having been framed for book stealing most foul, is informed there are no bedtime stories in prison.Characters in movies face many hardships, but perhaps none as bad as no bedtime stories.

The original Paddington was a delight without much plot, which didn’t stop me from loving it. This new one has a plot that is well-worn but effective. Aunt Lucy (voice of Imelda Staunton) is coming up on her 100th birthday. Since bears typically top out in their 30’s, this is worth celebrating. Paddington (voice of Ben Whishaw) wants to get her something special, and in the shop of Mr. Gruber (Jim Broadbent) he finds a wonderfully crafted pop-up book of London, perfect for Aunt Lucy, whose life’s ambition is to see the city. Alas, the book is stolen by Phoenux Buchanan (Hugh Grant), a disguise-cycling, washed up actor reduced to starring in dog food commercials (one of the film’s funniest moments). Paddington is framed and sent to jail.

The gang’s all here, minus Nicole Kidman, and they are as key to the film’s success as Paddington himself. The bear’s adopted family, the Browns, set out on a quest to find the mysterious vagrant Paddington claims he saw. Hugh Bonneville’s Mr. Brown must, by necessity, be bumbling and slow on the uptake, but he can’t very well go back to doubting Paddington, so he fails repeatedly to grasp the clues, though of course he comes through in the end. Sally Hawkins’s Mrs. Brown, whose fire was mostly in dialogue the first time around, gets more to do, including a role in the action-packed third act. Young Lucy and Jonathan (Madeleine Harris and Samuel Joslin) have grown to full teenagedom and taken an interest in, respectively, newspaper printing and train engines; both will be important. Julie Walters as the elderly relative (of uncertain linkage) Mrs. Bird is the same as she ever was, and that’s a good thing.

If you look really closely I suppose you can put together the uses the plot has for their new skills, but why would you want to do that? It’s all pulled off so gracefully and with no shortage of humor that it’s best to let it happen to you. The film’s one tiny, irrelevant misstep is that the cranky Mr. Curry (former Doctor Who Peter Capaldi) returns without much purpose, and without having learned anything from the last adventure.

If it is mostly up to the Browns to take over the film’s adventure aspects from the imprisoned Paddington, Paddington and his jailmates are trusted with the comedy. Of course, Paddington’s main charm is that he is a good-natured bumbler, and when, early on, he manages to turn employment at a barbershop into a silent-movie bit of slapstick, the owner may have to fire him, but actually getting angry seems a bridge too fur (I’m so sorry). His antics work like Rube Goldberg machines filtered through Charlie Chaplin, and his very presence in the prison seems sure to rattle that world. In due time he has made friends with the un-friend-able cook, played by a wonderfully cast Brendan Gleeson, who overacts just enough for laughs and not enough for parody. Soon they are brewing marmalade and have converted the prison into a fancy bakery, complete with pink uniforms for the prisoners.

Gleeson is one of my favorite actors and brings something new to the proceedings, but Grant is the standout addition here. He seeks a treasure hidden in the pages of the pop-up book, and is willing to go to some lengths to get it, but with his ability to slip in and out of characters seemingly at will, he might do better making a living as a spy. His frequent costume changes are served by Grant’s ability to ham it up in each of them---again, just enough for laughs and not enough for eye rolling. I am sure it was a deliberate choice on the part of director Paul King and co-writer Simon Farnaby to have the baddie behave like he knows he’s good but can’t give up the spotlight long enough to prove it, and Grant pulls it off with aplomb; his final, post-credits scene nearly pushes the whole thing into satire, but manages to strike exactly the right tone.

The written word isn’t sufficient to capture a film so reliant on all parts working together. I laughed a lot. I got a little emotional. I wanted to cheer and clap but I managed to give myself that much decorum. I liked it better than the first one, though both are on par with each other, and I’ll buy it when it comes out and watch it again. Cinemas are likely again this year to be clogged with “family films” that are neither sufficient nourishment for your family nor good examples of film, and Paddington’s presence is always welcome. Michael Bond may have left us last year (still making books right up ‘till the end) but King and his cast and crew are definitely still looking after this bear.

P.S. And don’t worry. Paddington does, eventually, get his bedtime story.

Verdict: Must-See

#sallyhawkins #hughgrant #hugh bonneville #paddington #movies #sequel #julie walters #nicole kidman #paul king #england #michael bond #paddington 2 #brendan gleeson #family film #Ben Whishaw #Jim Broadbent

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coll2mitts · 4 years

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#96 Meet the Feebles (1989)

I’m only on the 5th movie out of 100, and I’ve already started asking myself the question, why am I doing this? Is this really just about killing time while in quarantine?

This movie was written and directed by Peter Jackson. I just want to mention this before I start to explain the plot of this movie, because it is batshit bananas.

It opens on a musical number, asking the audience to, in fact, Meet the Feebles, a parody version of the Muppets. The song is cheery, and a bunch of different animal puppets are singing and dancing on stage. There is a bunny that pops out of a carrot, sings, and then the carrot shoots off into the sky like a rocket. The most disturbing-looking hippo is lowered from the ceiling and I have to pause the movie because I can’t stop giggling for 2 minutes. But then I start to realize she has boobs, and they’re massive. And that they have nipples. I only have a second to think, hmmm, that’s an interesting choice... before my eyes are assaulted with the sight of a walrus fucking a cat. And an aardvark is sniffing worn panties. And a rat is rubbing his crotch because he wants to fuck Lucille, who is not, in fact, a loose seal, but a poodle, which is the first of many egregious missteps of this movie.

Then, these little fuzzball puppets get run over by a barrel, and the rat eats their flattened corpses. The rat is filming BSDM porn between a cow and a roach in the back of the theater. There’s a paternity suit between a chicken and an elephant who have the most atrocious chicken/elephant hybrid baby. A fly eats shit out of a toilet There’s a bunny orgy. The bunny then gets AIDS and vomits all over the stage.

The knife-throwing frog has a heroin problem and stabs several puppets during the show. The rat drugs and tries to rape the poodle. The walrus kills a guy by pouring borax down his throat because he tried to sell him bogus cocaine. The rat and the walrus drive a car through a whale’s mouth and exit through the anus. The hippo finds out her pedophile manager boyfriend is cheating on her and she binges on cakes. When he dumps her, she tries to commit suicide and fails, so she takes a machine gun and massacres almost all the cast instead.

It was exhausting to watch this. I’m reminded of a scene from Daria, where Jane posits that puppets can make anything funny.

Jane - I'm telling you, puppets make anything funny. Give me something that isn't funny.

Daria - Um... a plane crash -- into a nuclear power plant.

Jane - Okay. Now, picture the same plane crash, only the cabin is full of screaming puppets flailing their skinny little puppet arms. Funny, right?

Daria - Hmm... maybe. Are they on fire?

Jane - Hmm...

The movie tried so hard to shock its audience that it didn’t bother to wonder if what they were showing was actually funny. Had they done that, they would have only released this 8 minute clip, where the heroin addicted frog relives his Vietnam experience.

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The rest of the movie, however, is so boring that having puppets was never going to save it. There is no overarching plot other than rehearsing for a television special and having that go fairly poorly because everyone is fucking insane. All the side plots - the bunny being sick, the hippo getting broken up with, the elephant and the paternity suit, the hedgehog wanting to get married, the frog trying to score smack, the walrus buying drugs - are a bunch of vignettes that do nothing to actually propel anything forward. When everything is so disjointed like this, there ends up being no story. I’m not invested in this production, I don’t want these puppets to succeed. Even worse, I don’t care enough about it to actively root for them to fail. When the movie doesn’t have a solid story or plot, it has to rely on something else to keep the audience entertained, and I’m assuming comedy was the ultimate goal here, because, again, it’s all puppets. Watching someone get assaulted isn’t funny in general, nevertheless when it’s a poodle, so pretty sure it failed there. So, no, Jane, I’m sorry, puppets unfortunately do not make everything funny. This movie is the cinematic equivalent of Garbage Pail Kids.

I don’t even want to discuss the music because it was so forgettable. The one song that made any sort of impression was a fox singing about how he enjoys sodomy. That’s the whole bit. There are butts hanging from the ceiling and I didn’t even laugh.

Now, if this project is a way to distract myself, wouldn’t I want myself to enjoy it? I probably wouldn’t have adhered to a list, or made myself finish any of these movies if I knew they were going to be train wrecks, right? I’m supposed to be bringing positivity into my life since the whole world has gone to shit. I could die, why would I waste my precious moments on earth watching cheap puppets vomit and piss all over everything?

How am I going to use the knowledge I’m obtaining? Do I want to understand cinema more? Will I continue to do this once I can see people again? Will this get easier as I get higher up the list?

Next is Dancer in the Dark, which has Bjork in it. Please let it be good.

#unwarranted opinion #100 best musical movies of all time rotten tomatoes

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stevenuniversallyreviews · 7 years

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Episode 59: Rising Tides, Crashing Skies

“I guess it’s pretty bad, but what’s a regular old guy like me supposed to do about it?”

Heyyyyy Ronaldo.

Y’know, this episode isn’t as bad as I remember. Watching it the first time, it stuck out mostly for its terrible timing after an episode as powerful as Sworn to the Sword, and looked even worse when its Steven Bomb was done: Keeping It Together, We Need to Talk, and Chille Tid are not great company when you’re only a middling episode. Even now, I think it would’ve been smart to put this just before Reformed as a coda to the human-centric chunk of early Season 2 episodes, or right after Chille Tid as a buffer between Malachite and the Week of Sardonyx. But watching it again, I can admit that Rising Tides, Crashing Tides isn’t a terrible episode.

Now, it’s not great, but what it lacks in substance it (sort of) makes up for in comedy. Where Crying Breakfast Friends is self-parody in show form, Ronaldo is self-parody in human form—which by the way further solidifies placing this episode nearer to Reformed or Cry for Help, which both feature CBF—so he’s a great lens to show a human reaction to the Homeworld Gems’ return. And if you’re going to use a gimmicky character, you might as well use a gimmicky format.

The saving grace of this episode is its lovingly accurate portrayal of a teenager’s crappy documentary. With the exception of the trying-too-hard reenactment jokes (the flopping fish for Nanefua and Ronaldo’s hand for the handship), I laughed way harder than I thought I would at its format-specific humor. Ronaldo’s terrible cutting is perfect, as is that weird but universal obsession with “official-looking” title cards (undercut by Comic Sans and plodding text effects).

But if you’re mining for comedy gold, look no further than the description assigned to each character. Some are general jokes (Kiki’s is “Pizza Heiress” and Mayor Dewey’s is “Mayor Dewey”) while others reveal Ronaldo’s perspective on his interviewees (Sadie’s is “Horror Movie Enthusiast” and Jenny’s is “Intimidating Teenage Girl”). Still, the obvious winner is Steven.

Still, the jokes directly from Ronaldo are, as always, hit and miss. Considering there’s not too much to talk about in Rising Tides, Crashing Skies besides the humor, I’d like to take a moment to examine what makes him so inconsistent.

Subtlety is where Ronaldo flies highest and falls hardest. I’m sure it’s difficult to use a light touch on such a broad character, but Zachary Steel is great enough at going full ham that he doesn’t need that much help from the writers. Ronaldo’s obliviousness is bound to make him say dumb things, but this sometimes makes incongruity itself the punchline when it should be the bare minimum for a gag. There’s a reason why everybody almost everybody grows out of “so random!” comedy, and it’s because there’s no depth to it beyond the standard surprise that most jokes have.

Still, this shallowness isn’t limited to lolrandom humor. Take, for instance, Ronaldo’s narration over his nighttime exposé. He looks right at the camera and talks about how brave he is to be sneaking around with a camera. You see, normally a hero doesn’t have to say they’re being brave, so we wouldn’t expect someone to say that they’re brave. But he does. That’s, uh, that’s it. That’s the whole joke.

There are tons of ways to show that a character is self-important that don’t involve them essentially telling us “I am self-important.” And Steven Universe usually does just that: Ronaldo’s brooding in Full Disclosure, his smug yet incorrect explanations of how the world works in Keep Beach City Weird, and smatterings of this very episode (like calling his home movie “an investigative report shot camera vérité”) all reveal how pompous he is. Which is great, but it only makes his “I’m so brave to be doing this” line more frustrating, because it’s not even teaching us anything new about him.

But on the flipside, the understated interviewee descriptions I mentioned above and small moments of Ronaldo acting like a real person as he futzes with the camera work so well because he’s usually so broad, and seeing him act like a real person is an incongruity that adds fuel to the joke (rather than being the joke itself). So you have to make him annoying and loud to make the quiet moments land, but not too annoying and loud because then we just hate the guy and the jokes get lazy.

Again, this can’t be an easy balance for the writers—and I haven’t even mentioned the additional pressure to provide constant humor with a flat character whose only role is to be funny—but that doesn’t mean I have to enjoy when the scales tip too hard on the obnoxious end. The reason Ronaldo works best in small doses is because the longer he’s on screen, the more likely it is that the writers will slip up and make him go full Ronaldo. Rising Tides, Crashing Skies does surprisingly well, but there are still plenty of moments where its hero is a pain to watch.

One thing that helps any wacky character is a straight man, and Peedee ably fills the role despite his own quirks. Atticus Shaffer hasn’t had much to do since Frybo beyond the occasional line, so it’s great to hear him spend a whole episode grounding Ronaldo with his signature blend of solemnity and anxiety. We already know from Keep Beach City Weird that Peedee understands his brother better than anyone, so putting him on the documentary team provides some much-needed commentary on an episode about commentary. I appreciate his introduction as an interview subject to reestablish his character, considering his lack of focus throughout the series, before making him Ronaldo’s semi-willing sidekick.

In terms of that whole subtlety thing I was going on about, I love that Peedee’s maturity and capability isn’t overplayed: he fumbles through filmmaking just as much as Ronaldo and spends as much time freaking out as he does calmly explaining things. Peedee is unusually responsible, and Ronaldo’s behavior makes him look particularly competent, but he’s still a normal kid and not a flanderized child prodigy. We already have one extreme character here, and I’m glad the crew doesn’t make the mistake of thinking we need another one to balance him out.

But it’s the third Fryman that gets the line of the episode, summing up what an adjusted adult almost has to be in Beach City. He’s aware of how powerless he is in a world of magic and monsters, but he sighs and accepts it instead of letting this knowledge cripple him. He’s got a family and a business to take care of, and he seems to be succeeding at both, so there’s nothing to be gained by worrying about things that are out of his hands. Most of the documentary’s interviewees have the same mindset, highlighting that Ronaldo is distinguished by his unwillingness to normalize weirdness rather than being the only one who notices it.

I’m surprised we don’t see Pop Fryman’s counterpoint, Kofi Pizza: Beach Party is an entire episode about Kofi facing a similar sense of powerlessness as Mr. Fryman with the same righteous rage as Ronaldo, so he’d fit right in (plus we see everyone else in his family, so why stop at Nanefua?). Perhaps having someone who actually agreed with Ronaldo would dull the episode’s message, but it would’ve been nice to see someone acknowledge that despite his many faults, our documentarian is correct.

The Crystal Gems are responsible for Beach City being a magnet for disaster, and seeing them from the point of view of an endangered civilian could make for a fascinating episode. Beach Party and Rising Tides, Crashing Skies come closest, and Lars’s own acknowledgment of how horrible such daily dangers can be in The New Lars is a turning point in his characterization, but otherwise we don’t see the consequences of being the Crystal Gems’ neighbors in a serious light until the end of Season 4. I feel like there’s a way to throw Ronaldo a bone in this regard, but considering it’s Ronaldo, I’m not gonna lose sleep over it.

Okay, what else. The Crystal Gems are obviously gonna be funny in a Ronaldo episode, as I don’t think I’ll ever get tired of seeing him treated with open disdain (so long as the characters aren’t actually cruel like Lars). We don’t get any introspection from empathy machine Steven about how dangerous the Gems are, partially because he already did that in Beach Party but mostly because this is a breezy episode despite its pointed criticism of our heroes. It’s great that Ronaldo only wants them back because he selfishly wants a weird city regardless of the risks; that is, it’s great in a character sense, because Ronaldo is despicable and this lack of concern for others is true to who he is.

I don’t know for certain if the final shot is a reference to Ronaldo’s polarizing nature, but I’d like to think it is. Especially because, despite myself, I’d be clicking the same button as Steven. If you hated this episode as much as I did when I first saw it, I’d suggest going back and watching it on its own: it’s much better by itself than it is as a dead stop to a marathon’s momentum.

Future Vision!

“Wait, so the hand wasn’t here to snatch up humans for a human zoo?”

Ronaldo brings up the Beach City Wind Farm, which isn’t a thing that we see at any point in the show, but Little Homeworld is will feature a prominent windmill, so maybe this is another proper prediction?

Still no word on if the Great Diamond Authority thawing out the cryogenically frozen pets of the one percent, but considering Ronaldo’s track record I wouldn’t be surprised. I guess if you squint it could be a reference to the bubbled Corrupted Gems, but his theories are usually more concretely proven.

(But seriously I think Ronaldo might actually have a future in intergalactic diplomacy.)

We’re the one, we’re the ONE! TWO! THREE! FOUR!

It’s not as good as Keep Beach City Weird, but that doesn’t mean Rising Tides, Crashing Skies is bad. In any case, it’s sort of an entity unto itself: it’s strange to categorize it as something other than a Ronaldo episode considering he’s the main character, but the unusual format puts it in a whole other category for me: this is the Documentary Episode, featuring Ronaldo.

Top Fifteen

Steven and the Stevens

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

Sworn to the Sword

Rose’s Scabbard

Coach Steven

Giant Woman

Winter Forecast

On the Run

Warp Tour

Maximum Capacity

The Test

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Future Vision

Marble Madness

Political Power

Full Disclosure

Joy Ride

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

No Thanks!

4. Horror Club 3. Fusion Cuisine 2. House Guest 1. Island Adventure

#rising tides crashing skies #steven universe #su #steven universally #review

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jolteonjordansh · 7 years

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Thoughts on Digimon Adventure tri.: “Coexistence”

Alright, I kept telling myself I was going to give a day to let my thoughts on “Symbiosis”/”Coexistence” (I'll go with Coexistence generally just to clarify) sink in, but I cannot get my mind to shift on anything else so let's just get to it. If I miss anything, I’ll make an additional thoughts post or something, but I feel like I’ve covered everything here for the most part. So, how did this go as we’re nearing the end of Digimon Adventure tri?

Oh boy, where do I even begin?

Let me lay this down straight: “Coexistence” isn't absolute garbage and is not the worst thing I've ever seen. I still think other series like Digimon Frontier are far worse than tri as a whole so far, but... “Coexistence” pretty much puts a lot of tri's flaws all in one big package.

The "padding" of this movie wasn't so unbearable that I wanted to shut the thing off, but I can certainly say that for 3/4ths of the movie, I was so bored. Not ready to die bored, but questioning "When the hell does all of the material this movie kept pressing so hard before release supposed to show up? Where's Kari's development? Where's Ophanimon Falldown Mode? Any answers to all of the plot threads you've left open? Are the Digimon going to regain their memories? The 02 cast? Anything?" There were cute moments here and there, but I felt that the payoff wasn't good enough to sit through so much of this. This isn't to say that the payoff wasn't good at all--I'll get to that towards the end. Let's get the bad stuff out of the way first. Other than the music anyway; that was as good as always.

The animation, while mostly okay, had some weird moments. I know it's happened throughout tri, but the size inconsistencies of the Digimon were especially obvious in “Coexistence”. Maybe I just never noticed it until now, but there were so many moments where I was thinking things like "Agumon isn't that small," or "Why did Patamon suddenly shrink from one frame to the next?" Also, there were a good number of stills used here for some reason. Why? I have no idea, but it looked bad. There was also this one shot of Piyomon flying that was really choppy, yet Patamon's flying animations looked as fluid as usual just a few seconds later. Are they trying to save all their budget for the last movie? Come on guys, this isn't “The Scuffle of Legends” for crying out loud. The animation was at least good where it was supposed to be, especially towards the end (the scene where the ground was falling apart were super quick and fluid? I'm not sure if it was just me, but it stuck out to me as looking really well-animated and flowing compared to the rest of the film).

There's sadly not much fighting to talk about animation-wise either. It looks good when it happens--I personally thought watching Alphamon and Jesmon duke it out was awesome. The Digimon from the DigiDestined, other than Tai and Matt who manage to bring together Omegamon, sadly don't get to do much. But hey, the animators learned to put all of the Digivolution animations together in one shot instead of making us watch ten minutes of Digivolution animations! I mean, I love watching them and all, but sometimes you have to cut to the chase, and this was one of those cases. I just found it funny that the one Ultimate Digivolution we hadn't seen, WereGarurumon, gets boxed. But I was sad to see MetalGarurumon's boxed. I mean, his pose and everything looked awesome so I would have really liked to see it in full! Hopefully, we'll get to see it in full in the next film. I mean, come on! I demand to see my metal puppy with some shiny awesome Digivolution animation! Omegamon also got a... sort of Digivolution animation, but it still looked neat! I just wish it was even flashier since, you know, this is a Mega/Ultra level Jogress Digivolution. It deserves to be insanely flashy!

I know I've been saying "towards the end" a lot in these thoughts so far, but... that’s because, sadly, you don’t really need to watch the first three episodes except for like, some exposition about Meicoomon. You know what the rest is? Meiko wondering and whining and mulling over what to do with Meicoomon. Over. And over. And over. If you weren't tired of it the last couple of movies, you will be absolutely sick of it by the end of “Coexistence”. I cannot stress how I tried so hard to give Meiko a chance. I tried to look at things from a sympathetic viewpoint. So many times, I was ready to just give up on her character, but I came into this movie thinking, "Okay, I'm going to try one more time. This might be where Meiko gets interesting. Maybe after all of this 'development', it will actually pay off into something really great."

That didn't happen. We got the same kind of thing with Meiko as we did with the rest of tri. The self-doubt, the crying, the blush stickers, the "Why was I chosen!?" subplot which was already done so much better with Joe, the pity party, attempting to take responsibility for things only to rinse and repeat everything I just mentioned--anything you have seen of Meiko in the last four movies of tri, you will see here (except maybe blatant fanservice) but it is done for three full episodes. It was tiring, it was frustrating, and I just wanted to see the movie focus on something besides Meiko for five minutes. I mean, we get some nice bits with the DigiDestined like them reaching out to their parents as they're unable to go home--but of course, most of these are silent and the one that gets the most attention is Meiko's.

I hate to go on and on and on about Meiko as much as I am, as I understand some people like her. However, I wouldn't be going on as much about Meiko as I am if tri wasn't focusing on her so much in the first place. My biggest issue with all of this focus on Meiko is that these attempts to "develop" her and make her more likable are far too little, too late. These are things that we should have been seeing in “Determination” and “Confession” for us to understand and connect with Meiko as a character. Instead, they wasted time with her being unrealistically socially awkward and fanservice-y, and then being outright whiny and insufferable in “Confession”. And the writers expect us, more than half-way into this series, to truly invest in her and care. This might have been doable at this point if it was in small increments with balance with the rest of the DigiDestined rather than focusing so hard on her because the writers realized they were running out of time, but that's not what they did.

There were things they could have done to make her more likable and human throughout this series. There was the potential of her father being an abusive asshole father to at least explain how shy and scared and shut-in she was, except he... wasn't really that terrible. He was just a workaholic who asked Meiko to let Meicoomon be experimented on, and... that was about it. Suddenly he started caring about her in this film like he woke up one morning and said "Oh shit, I'm a bad father." It was more like a parody of the asshole dad than an actual use of the trope, with little execution applied. There's also this tick Meiko has of having a Tottori accent, which was only used a record time of once in “Determination” to show she had this quirk and for the cast to giggle about. Suddenly, after a phone call with her father and crying about Meicoomon again, Meiko starts speaking with this accent, likely forgetting her habit of speaking so formally around everyone. This is honestly a minor thing, but it did give more flavor to her character and had she grown more comfortable to use it more often around the DigiDestined cast, I would find her character to be more believable. She just shifts around from being uptight and formal to suddenly open and willing to cry her whole heart out to them. There's no gradual development. What was also weird to me is that, with all of flashbacks Meiko had, we don't really hear her using this accent she supposedly has in her childhood (at least as far as I could tell?), so yeah... we also have inconsistency issues! Yay!

I also simply cannot bring myself to like Meicoomon either. I get it, I'm supposed to sympathize for this poor Digimon who was basically born as an outcast and technically did nothing wrong. But... She barely has a personality other than "Mei! Mei! Mei!" and how am I supposed to care about a Digimon who serves as nothing more than a plot device and flipflops from being a cutesy kitty to a devastating killing machine? This was something Digital Monster X-Evolution did infinitely better with Dorumon. Now, we do at least finally get an explanation as to why Meicoomon freaks out so much without Meiko and why she's so uncontrollable in the first place. And... it's one of the dumbest asspulls this series has had.

Meicoomon was basically born from a fragment of Apocalymon's data. I've seen some people point out some things foreshadowing this, but they're super filmsy to me and nowhere near convincing enough for me to really follow as something the writers really thought through. It feels like some lazy excuse the writers came up with to try to connect Meiko and Meicoomon back to the original Adventure series in some way, when really it just makes their whole existence feel all the more hamfisted. I've tried to avoid the "blatant self-insert Mary Sue OC" label with Meiko as much as I could with how overused it's been applied to her by so many people who watch tri, but if anything made her fall under this label, it would be this. She has a Digimon formed from a fragment of the original Big Bad's data? Seriously? Let that sink in. Did that really sound like a good idea on paper to someone? If that's not enough, this is literally recycling the plot of Ryo and Monodramon from the Tamer games on the Wonderswan, where Monodramon Jogress Digivolved with the Big Bad Millenniummon and ultimately became his partner after being reborn, which led to the Ryo we know with his berserk Cyberdramon from Digimon Tamers. Hell, Battle of Adventurers did the whole "leftover fragment of Apocalymon" thing a lot better. It's just shameful how lazy this whole thing is put together when the writers have been building up the plot for, what, five movies over the course of three years? I guess this also explains how Meicoomon was the special snowflake who wasn't affected by the Reboot at all, but... whatever. I barely even care at this point. Meicoomon and Meiko are special snowflakes and that's just how the writers are going to treat them.

What makes this special treatment of Meiko all the more frustrating is when you look at the DigiDestined constantly comforting her and acting like she's been with them for years, saying things like "We're with you because we're all DigiDestined!" and were even willing to depart from their own moral compasses (referring to Tai's willingness to kill Meicoomon as Meiko wishes when he just said in the previous episode that he didn't want to kill a friend) when... they're completely ignoring the Adventure 02 cast. I get it, some people are tired about people questioning where they are, but when the writers have been waving teases at the audience like showing them being "killed off" in the beginning, Gennai taking on the Digimon Kaiser disguise, Kari and T.K. being concerned for their whereabouts a record one time and bringing back the freaking Dark Ocean (because, you know, that went so well in Adventure 02!), you have to question the cast's lack of concern. Adventure 02 has not been de-canonized, or these little things wouldn't exist. So I hate how the Adventure cast is constantly catering towards Meiko's needs when they've maybe known her for a couple of months at best, but don't even show a wink of concern for the Adventure 02 cast who they have probably known for years (I imagine they kept some contact over time) and both T.K. and Kari went through a whole series of adventures with them. It really does make it feel like the cast are written in a sort of bad self-insert fanfic whenever Meiko has any sort of presence as if the world revolves around her.

Once again, I get that a lot of my problems surround Meiko and Meicoomon, but the problem with this movie is how freaking heavily it focuses on them. A lot of this movie before the last episode is simple padding like the cast trying to get back to the real world, telling ghost stories and having other cutesy moments. I didn't hate all of these, but when we're getting so close to the end... I want this time being spent on the writers finally tying up loose ends. There's one movie left, and yet here they are continuing to add even more questions to the plot and not enough answers and then otherwise wasting time with things that do not answer these issues. I am not against filler--I was fine with most of “Determination”'s because it was the beginning of the series, things were still rolling in, and there were still increments of development happening here and there (Mimi's narcissism and Joe's questioning of his identity as a DigiDestined). But this late in the series, it's time to cut that down and focus on ending the story. Instead, “Coexistence” does a whole lot of nothing with terrible pacing issues, retreading on things we already know/are tired of hearing about, and just adding more instead of answering more. The writers have dug themselves in a big hole and bit off more than they could chew, and it is the most apparent in this movie.

So I must hate this movie then, right? Actually, no. Even though I think three of the four episodes are tough to sit through, with only cute moments to salvage them, the fourth episode was good and finally gave me what I was hoping for in this movie.

Because it's a minor thing, yes, Himekawa had some of her insanity breakdown. Not as much as I wanted, but I still ate up the nonsense she was saying and... she got a gun out of nowhere? What? When? How? I don't know, but it's hilarious. I swear, she's ready to kill someone who speaks a word to her. What's even weirder is that the guns she has changes between scenes. One moment, she as a BFG or some sort of grenade launcher, the next she had a handgun. What, did she find some Weapon Shop in a village somewhere? I have no idea where she's going or what she's going to do since she ended up in the Dark Ocean, but I hope if she shows up, she's just off the walls laughing like a maniac bonkers when we see her next. Insane Himekawa is the best Himekawa.

We also get a little bit of the OG!DigiDestined, like a shot with Nishijima's partner Bearmon. Dawwwwww!

But the best parts are when this movie finally decides to get to the focus I was personally waiting for in this movie--Kari Kamiya. While unfortunately it got nowhere near as much focus as I wanted (because apparently a certain other character really needed it more for some reason...), what we got was damn good. I love that Kari, with all of the times she's been possessed by Homeostasis, finally stood up to a fucking deity of worlds. She wasn't taking any of that shit, and she stood up for it. And I love that if tri has done anything, it's given Kari far more character than Adventure or Adventure 02 ever did. While she isn't forceful or rude, she does not take shit when people spew things she can't possibly bring herself to agree with. She has a firm ground, and she's willing to stand on it. Much like the scene where she talked some sense into Joe in "Determination", it was damn good to see.

And then there was her breakdown. Man, what a breakdown. While we all know Tai isn't really dead (if the Adventure 02 epilogue doesn't count to you, he's on the freaking poster of the next tri movie--he's not dead guys), there was no better way to break her. We've seen that Tai and Kari are close like in some bits of the Dark Masters arc in the original Digimon Adventure, so what else could they take from her but what's most important to her? And the way she just breaks is incredible to watch. Dead silence. Disbelief. Broken sentences. She is in such despair of Tai being gone that she just wants the rest of the world gone. While I wish Gatomon had been a little more involved, with the Dark Digivolution just sort of... happening, it was still a damn good lead-up. But man, is it a terrifying one.

While my personal favorite Dark Digivolution moments still go to Takato and Guilmon and Marcus and his Agumon, Gatomon to Ophanimon Falldown Mode and then Jogress Digivolving with Raguelmon to... whatever terrifying Evangelion experiment they combined into, was just horrifying, down to the body horror. It gives the whole "Coexistence" title double meaning (along with the whole coexistence of the Real and Digital Worlds), and just... seriously, look at that thing! If that's not a destroyer of worlds, I don't know what is! And it's basically a living embodiment of Kari's will and feelings after seeing her dear brother "die" before her eyes. Even after this whole thing happens, she's just a living shell just sitting there. You can really see just how broken she is after that.

While I still want to see more of Kari breaking, like how she'll deal with this whole situation and cope with her brother's "death" until he returns, it was still just good to see her develop in some way. And I will say, yeah, the cliffhanger is pretty dirty when the whole movie felt like a set-up for the last one while still doing a lot of nothing until the end. "Confession"'s cliffhanger, while absolutely painful, still felt more genuine than "Coexistence"'s just being there for the sake of set-up. And I think part of the reason it's so frustrating is because that... again, this movie didn't do a lot, so leaving it at that just when it was starting to finally get moving is aggravating.

This is still easily the weakest entry in the Digimon Adventure tri series though. And while it was frustrating at many moments, I would still call it... okay. I think it could have been even worse. The last episode did make it worth a watch, but the rest did make me want to bash my head into a wall at times. At this point, there's no way tri will be able to possibly tie all of its loose ends in a satisfying way. Hell, we may never even get an answer for things like the Digimon's memories or the Adventure 02 cast (though I certainly hope we do). But there is some good set-up here... So if we can at least get some answers, some awesome fights, and good character development and interaction, I am going to look forward to seeing Our Future, though with some optimistic skepticism. Here's hoping, to what little tri has left and how much going against it... that it pleasantly surprises us somehow.

#Shut Up JJ #Final Thoughts #Digimon Adventure tri #Digimon Adventure tri spoilers

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theliterateape · 4 years

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On Birthday 41 and the Things I’ve Learned

By David Himmel

Chicago, May 26, 2020, 3:26 a.m.

One of my favorite birthdays was my Jesus Birthday, the year I turned thirty-three. I’m not talking about the entire year, although, it was a great one with some pretty big moments, most impactfully, meeting my wife and harnessing my messianic powers—granted to all who turn thirty-three for the entirety of that year. (In 2012, there wasn’t a cave anywhere in the world that could hold me.) I’m talking about the actual day, May 26, 2012. I don’t remember the whole day, but I remember what must be the most important part.

I woke up early. Pre-dawn. I sat down at the keyboard in the office of the apartment I shared with no one else and I wrote for a few hours. On that day, the song “Call Me Maybe” by Carly Rae Jepsen was spraying glittery rainbows all over the airwaves, and stomping through YouTube with its almost endless parodies, amateur dance party videos, and covers. I had just downloaded the tune and that early birthday morning, I listened to “Call Me Maybe” on repeat for four hours straight. That means I listened to that song nearly seventy-three times in a row. By the time the sun was up, I still wasn’t tired of it.

Here’s why that birthday was so great: It was near perfect. I was productive on the keyboard, I was up early, and I was listening to the most incredible sugary earworm I have probably ever heard. But I had long known that those three things make me a happy boy. And that’s why I find myself doing something similar today. Eight years later.

Some things don’t change. We are creatures of habit. But we’re also creatures of evolution, and while basking in the happiness that familiarity brings, we also find ourselves on our birthdays with a heart and a brain full of things learned. So, taking my inspiration from a Don Hall tradition of recounting those things leaned in the past year, here’s the short list of what my forty-first trip around the Sun has revealed to me.

Forty wasn’t scary, but inching past it is We make a big deal of turning forty. It’s over the hill. It’s when our bodies start to lean into their decline. Turning forty didn’t scare me. Just a few weeks shy of my thirty-fifth birthday, I underwent surgery on my face to remove skin cancer. I was dating the woman who would become my wife then. We rented a small Wisconsin lake house for the birthday weekend and on the morning of May 26, I woke up early—as I’m wont to do—and stared long and hard at my freshly scarred face in the mirror. I came to terms with my age and mortality there. I think most people have that quiet conversation with themselves at forty. For me, turning forty was a breeze. It was only slightly more remarkable than any other birthday. But as I crept closer to forty-one this year, I learned that aging past forty is scary.

And now I’m here. And I feel fine. But, inching past forty is, from my perspective, means no longer heading toward opportunity, but to memory. There’s a pretty good chance that the majority of my dangerous, envelope pushing, law bending adventures are behind me. I’m no longer a full tank of gas with the open road laid out before me. I’ve got half a tank and pretty soon, I’ll need to start looking for a place to pull off and ditch this old hunk junk. But I still have a lot of places to go, things to see, stuff to do before that needle hits E and my maker calls me into his office.

I’m more afraid than I used to be I’m afraid of good health failing. Not just mine, but that of my wife, my son, my dog, my parents, my in-laws, my brothers and their wives, my friends… None of this health fear is related to COVID-19. That, while a major concern, is the least of them. This is the worry of a man who appreciates all that is good.

I’m afraid of being mediocre. Of being unimpactful and ineffective. Have I impressed all I will impress? Have I done my best work? Am I out of ideas and the energy to come up with new ones? Do I still have time to impress myself? This has always been a concern, but I’ve never been afraid of it becoming a reality. Until now.

I’m afraid of being depressed. Not because I’m afraid of being sad. We all know depression is more than sadness. I’m afraid that the brain numbing and lethargy that comes with depression will become unshakable. Sadness passes, lethargy is a big, fat, couch-hogging motherfucker that can be almost impossible to get out of the house. It always claims squatter’s rights, and over forty, I’m at risk of pulling or breaking something by trying to push it out.

I am not as strong as I thought I was I don’t know if this has as much to do with age as it does with cockiness. I thought I could hop up after twentysomething years of not running long distance and—boom—run a marathon. It wasn’t easy, which I didn’t think it would be, but I also didn’t think that my body would be so ill prepared that I’d end up breaking my leg just two weeks before Race Day. Do I need to take it easy? No. I need to take training seriously and never forget that practice is incremental and paramount.

Quiet solitude is a need to have, not a nice to have No TV. No scrolling through the phone. Not even any music. That includes Carly Rae. I need to take time to be quiet, calm, still. What is that Thompson wrote in Fear and Loathing in Las Vegas: “Be quiet, be calm, say nothing…” Yeah, he was talking himself out of having a psychedelic meltdown, but the advice is good for those of us whose brains are easily overwhelmed with the everyday. For those of us whose ideas bound about like bunny rabbits on cocaine searching for a spilled can of Red Bull to lap up.

When I was younger, before I had cable TV and a phone with Facebook, the internet, and solitaire, I could easily sit down with myself, sometimes with a pen and notebook, and just be. Think. Tune out the world and let my mind go wherever. It’s a form of meditation. I learned the importance of seizing quiet solitude way back in my late teens, but this year has shown me how absolutely imperative it is.

Speaking of…

I really miss being a kid Or really, I miss being around me as a kid. This has been a theme for a little over a year. It’s been discussed at length on The Literate ApeCast and I’ve been working on a book dealing with time and nostalgia. But it’s more than just nostalgia for me. Watching my son grow, it’s hard not to think about what things were like for me and my wife at that age. How can we be great parents based on what we learn from history? We talk to our parents about it a lot. At least, I do.

In many ways, we miss out on our own lives because we’re only getting one half of that experience. So, I don’t want to be a kid again as much as I want to spend time with myself as a kid. Ages twenty-one on down to one. I want to know what I was like back then, what it was like to know me. If I could do that, I don’t think I’d be so scared, as mentioned above, because I’d have a clearer picture of things. And it’s always better to venture ahead when you know where you came from.

But since this is an impossible feat, I’ll have to make a point to go back and read all my old writings. I’ve been teased for my record keeping, but it just might save my forties.

I can live in filth The best part about living alone is that every mess is yours. The only person who can dirty up the kitchen you just cleaned is you. The only shoes you have to pick up are yours. The only ass you have to wipe is yours. Since moving in with Katie, and the dog, and having the kid, my worst fear have come to light: my home is in a constant state of dusty disarray. I tried to keep up, even stay ahead of the untidiness, but, I gave in. I no longer do a deep clean of every room and surface weekly. The only object with more dust on it than the TV stand is the vacuum. Does it bother me? Of course. Should I make better attempts to stay on top of things? Yes. Should I hate myself and be angry at the wife, dog, and kid when I don’t scrub and organize on a weekly basis? No. Because I’ll be fine. I’ll live. Not as well as I’d like to, but I’ll live. And if skipping the deep clean means I can spend more time playing with my son and that the dog doesn’t lose her goddamn mind barking at the vacuum, then that’s just fine. For now.

If I had been born a girl, my parents would have named me Katherine Funny because that’s my wife’s name. My mom told me this just a few days ago. It warmed my heart when she said, “But, in a way, we got a Katherine after all.”

I can grow a beard Thank God for this quarantine. I never would have let the thing go without the safety of Zoom and FaceTime calls. They allowed me to grow through the patchy and settle on whatever this is. It’s not the best beard, but I’ve seen worse. It took a good two and a half months to get to the point where I could start saying, “I have a beard.” If I were a Guess Who character, and the question was, “Does your person have a beard?” one would be required to answer, “Yes.” There’s no denying it. I really never thought I could, and I probably wouldn’t have ever attempted. But these computer cameras seem to make all of our physical imperfections disappear. Not sure how long I’ll keep it. Not sure I don’t look like a 1980s action movie uncredited terrorist. Not sure I don’t look extra Jewish now. No matter. These are unprecedented times and this is an unprecedented beard.

The past year has had its hardships and its big wins. I won’t complain. The year was full of life, which is all I’ve ever wanted out of my years.

#Birthday #birthday wisdom #Happy Birthday to You #birthdays #May 26 Birthdays #Call Me Maybe #Carly Rae Jepsen #Skin cancer #Basal Cell Carcinoma #Nostalgia

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oltnews · 4 years

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TThe 2020 BRIT Awards nominations were, as you would expect, dominated by guys in almost every category. This is why the appearance of Ashnikko on the red carpet, his striking blue hair worn by two male submarines, caused such agitation. "Tonight I'm playing Ashnikko: Femdom," she told NME. "It's a game of power ... Down with patriarchy." It is not the first time that Ashnikko (real name Ashton Casey) has been rowdy just to be herself. Following the release of his EP ‘Hi, It’s Me’ at the end of last year, his abrasive pop-rap single, ‘Stupid’, went viral on TikTok, getting noticed Saturday Night Live and a Miley Cyrus dance routine in the process. Since then, she has announced a tour with American rap sensation Doja Cat, her song "Working Bitch" had a similar moment online, Bring Me leader The Horizon Oli Sykes called it "The coolest person in the world", She spent her forties doing yoga with Charli XCX on her Instagram and appeared on Yungblud's online show last week. Phew. We met Ash in Los Angeles to find out when she escaped, her songs inspired by Harley Quinn and why she doesn't plan on taking herself anytime soon. Your music takes on its full influence. Sometimes it seems like Brockhampton meets Riot Grrl, other times it's a Charli XCX party with a Nu-metal growl. What do you call it “I wrote it the other day, it's angry, punk, hip-hop, sad-feminist, bubblegum, poo-poo. It’s a lot. I find it really difficult to stick to one thing because I am so fickle and I really like to change my mind. " You've been out music since you were 18, do you feel like you've finally found your sound with "Hi, it's me"? "100%. There’s a lot of really bad music I’ve done but you have to do crappy music to do what you’re supposed to do. I have the impression that this project is entirely me, fully my voice and fully what I want to say and sound. I'm really proud of it. " There is a proud feminine energy in your music, has it always been so? "No, that's not the case. I became a woman and I formed my own opinions about the world around me. I feel like a teenager who makes music, I had a lot of "internalized misogyny, a need to be one of the boys and a lot of self-hatred. By discovering what feminism is and what it meant to me, it definitely took my life in hand." [embed]https://www.youtube.com/watch?v=4o_IQavlMDA[/embed] What was the turning point? “I was really a kid from Tumblr. I did a lot of my personal education on what intersectional feminism is on Tumblr. The Internet is a great tool for children who are raised in very small cities. You can access all this information and make your own opinion. " So what inspired "Hi, it's me"? "It's a break EP. I still have a lot of break songs that are being recorded for later because I was writing them." Hi, it's me ", I'm the one who draws really in my own femininity and my own feeling of confidence that I feel like I only felt that last year when I wrote it. It was a very tumultuous and crazy journey. I was so upset and moved , everything just overflowed. I used a crazy energy when I was writing this project, I felt like a supernatural goddess, then it came out and I felt human again. This EP was a speech of encouragement for me. It was written to get me out of a bad place. " To what extent has "Stupid" going viral on Tiktok had an impact? “It gave him an astronomical boost. I like the way ‘Stupid’ is doing well, it’s not just this song that benefited. "Working Bitch" had a moment recently and it was really exciting. People discovered the rest of PE with ‘Stupid’, which is cool. I'm glad everything went like this. Even Miley got involved, how was it? "It was great. To me it felt like a cool little moment on TikTok and when Miley did a dance it looked like A Thing. I'm glad my ass song angry about my ex-boyfriend has become the reading list for so many people. " And has it changed your life? "100%, it's been quite the lifestyle change. I'm still getting used to it. It's sometimes a little uncomfortable, my relationship with social media has completely changed and I'm still working. Being more visible by as long as a human being is a strange state of life. But sometimes it's the best. It's something I've wanted for so long and now it happens, it's something I'm still struggling with. J just try to match my expectations with reality now. " [embed]https://www.youtube.com/watch?v=VbQrhOWkonk[/embed] Do you feel compelled to prove yourself now? "This way of thinking will only intensify my mental illness, so I'm not trying to think like that. For the first time, I have no trouble following. I have a lot of music to broadcast, I am very confident in my ability to create art and do the job. I'm just excited to put everything aside and not put myself under pressure because it's crazy. " You just released "Tantrum". Where does this song come from? "I had the Birds of prey soundtrack in mind, I wanted to run for this movie and I wanted to write a bad bitch, the song by Harley Quinn, so I wrote ‘Tantrum’. But it became 100% my song. I love this song and I love that it is my song. I write music for myself first and then for my beautiful fans. I have to do it myself first, otherwise it doesn't sound like my music. When you enter a session and say, “Okay, let's do a TikTok smash,” the song will sound like a balloon. " Is it a standalone single? Is there an EP en route? An album? "I don't know if I have the right to say but yes, my longtime collaborator Slinger and I are doing a project. No matter how it is called or finished, I continue to accept it, but I will just give birth to baby songs and see who loves them. " CREDIT: Lucrecia Taormina Who are your peers? "The people I really respect are Doja Cat, Grimes, Tierra Whack, Rico Nasty, Hayley Williams, Princess Nokia, Kim Petras and Charli XCX. Other women make me feel very inspired, but my really unconfident 14 year old self also inspires me to make confident music now, as a 24 year old woman. " Oli Sykes said you were the coolest person in the world. Are you? "He said it, didn't he. Sometimes when I dance with Cher in the mirror, I think 100% that I'm the coolest person in the world. But my brain is a real crazy race. Trust is a real roller coaster, right? I think I am sometimes and sometimes not at all. " Do you take yourself seriously? "You know what, I'm just kidding because of a trauma. It's very serious but also, I don't take myself too seriously because I like jokes on the fart, you know. For a while, I thought I must be this really serious artist, this enigma, but you know what, I like making stupid TikToks. I like to make these stupid sketches on my Youtube channel. I wrote a musical on my clitoris and I wore a vagina costume. I am not trying to be a really serious artist but I am not trying to be a parody or a comic act. But I can't take myself too seriously or I will cringe so hard. " Ashnikko's new single ‘Tantrum is now available !function(f,b,e,v,n,t,s) if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments); if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window, document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '2300206660218433'); fbq('track', 'PageView'); https://oltnews.com/ashnikko-is-miley-cyrus-approved-bubblepunk-pop-star-who-refuses-to-take-herself-seriously-nme-live?_unique_id=5ea0237ef27e2

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entergamingxp · 5 years

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DualShockers’ Favorite Games of 2019 — Chris’ Top 10

December 28, 2019 10:00 AM EST

This Top 10 list of 2019 games from curmudgeon contributor Chris Compendio is full of oddities, with both indie titles and blockbuster hits.

As 2019 comes to a close, DualShockers and our staff are reflecting on this year’s batch of games and what were their personal highlights within the last year. Unlike the official Game of the Year 2019 awards for DualShockers, there are little-to-no-rules on our individual Top 10 posts. For instance, any game — not just 2019 releases — can be considered.

There is a particular attitude that comes with end-of-the-year discourse. Much like how there is an “Oscar movie,” we have “GOTY games,” triple-A titles so hotly anticipated that many in the gaming community are sure that it will already be their favorite. Look no further than any social media feed, where people are already arguing about what will be Game of the Year 2020. But when I look at my favorite games of 2019, I am surprised by how many of them are sleeper hits, quality titles that snuck up on me.

I still believe that there is value to having group and outlet-wide Game of the Year lists, and it is fascinating to see where everyone ends up. Still, I’d much prefer to sift through personal end-of-the-year lists, as they are a better indicator of the personal gaming journeys that individuals went through during the year. There you’ll find obscure little nuggets, or perhaps contrarian and eye-opening angles to games that you may have missed out on or didn’t give a chance.

With my personal top 10 list for 2019, I find that the uniting factor between most of these games is that they are weird. They are incongruous, non-traditional, unusual, and so on. And most of them are games I hadn’t even heard of a year ago, making the value they provided all the more surprising.

First off, some Honorable Mentions that didn’t quite make the cut, including Untitled Goose Game, Gears 5, Tetris 99, Baba Is You, The Legend of Zelda: Link’s Awakening, CROSSNIQ+, Pokemon Sword & Pokemon Shield, Star Wars Jedi: Fallen Order, and Mini Motorways, all of which could have formed their own top 10 list. Then there’s the stuff that I didn’t finish or get to, but will absolutely do so starting in January, including Luigi’s Mansion 3, Kind Words, Arcade Spirits, Knife Sisters, Wolfenstein: Youngblood, Outer Wilds, The Walking Dead: The Final Season, Life is Strange 2, Disco Elysium, and Neo Cab.

Man, I wish we had room for more than ten entries.

10. Ring Fit Adventure

I have fond memories of playing Wii Fit back in the day; while it obviously wasn’t a proper substitute for more intense workouts, it was a nice way for Nintendo to encourage health and regular exercise into one’s daily routine. That’s why I was so surprised by how freaking hard Ring Fit Adventure went. For the first time playing an “exergame,” I was left sore and sweaty, so much so that I had to lower the intensity at times.

What Ring Fit Adventure succeeds in doing is actually turning exercise into a video game. It took Nintendo maybe like, over a decade to get there, but it’s great to see nonetheless. All Ring Fit Adventure comes down to is a turn-based RPG where the moves and attacks and defense are achieved through exercise. The Ring-Con is durable and versatile, and as the game encourages, I find myself turning it on by itself and doing some mindless exercise while doing other activities or watching television. It is obviously far from the most impressive video game of the year, but Ring Fit Adventure is the one that I came back to the most often in 2019.

And fun fact: the model in that lifestyle photo that serves as this list’s featured images is my friend from college. You’re damn right that I had to use it for this.

Check out DualShockers‘ review for Ring Fit Adventure.

9. Kingdom Hearts III

The Kingdom Hearts series is like a specter that will never stop following me. I don’t even have to go over how much these games mean to me and how wild the pre-release period has been since Kingdom Hearts III was announced what must have been a century ago at this point. And I’m not even going to bother to talk about how stuffed and contrived the lore is—at this point, Kingdom Hearts practically speaks for itself. Even if you aren’t into the franchise, hearing all of the fervor around it should at least give you a feeling of what it’s about.

And once Kingdom Hearts III finally released a lot of people, ranging from newcomers to devoted fans, were quick to scrutinize and tear it apart, and a lot of the criticisms were fairly justified. Perhaps I was in my own world, but none of that stopped me from enjoying the hell out of III. It may have just been the novelty of playing a brand-new, high-definition Kingdom Hearts game, or all of the obvious fan service and emotional scenes of closure, but whatever it was, the feeling of playing Kingdom Hearts III could not be recreated by anything else I played in 2019.

Check out DualShockers‘ review for Kingdom Hearts III.

8. What The Golf?

Most of the games on this list were surprises to me, but What The Golf? was a strange game that contained a number of different surprises within it. The facade of this being any sort of ordinary golf video game quickly wears off, as you find yourself hitting more than just golf balls into the hole: maybe it’s a golf club, the golfer themselves, or even another damn hole that you have to get into the hole. And that’s just the beginning—you’ll be going through city streets, parodies of other video games, and space, with some gravity-defying shots.

What The Golf? is an excellent example of how to create comedy that is unique to the medium of video games. It isn’t writing or cutscenes, but rather the actions that the player does themselves that creates hilarity. Each level plays with your expectations in a different way, and there is enough variety to prevent the game from just turning into the same punchline replayed multiple times. Other than that, the game has excellent sound design, and there’s a neat feature that lets you showcase a short, curated level selection to friends. What The Golf? is perfect for short bursts of play, and at some point in the near future, I’ll probably find myself going through each hole yet again.

Check out DualShockers‘ PAX East preview for What The Golf?

7. Ape Out

With such a bold art style and a distinct percussion-based soundtrack, Ape Out is impossible to ignore. The core gameplay is quite easy to wrap your head around, but I appreciate all of the strategic considerations that go into playing the game. As a massive ape trying to make your great escape, your main tools are a basic attack and a grab; enemies die easily, but so do you, with only three hits. The decision I always faced was between brute-forcing myself through gunmen or taking a slow and deliberate pace using an enemy as a human shield. Better yet, breeze through the randomly-generated maze and avoid conflict altogether.

The trial-and-error nature of Ape Out might naturally draw comparisons to Hotline Miami or Celeste, and as magnificent as those games are, putting this game only in those terms would do it a disservice. There was something so intriguing about the total lack of context given regarding this ape, but as you continue your rampage and leave a trail of death and destruction behind, aided by some brash and flashy visuals, what has led to these events is irrelevant—the scene and tone and the feelings that they invoke are already enough.

Check out DualShockers‘ review for Ape Out.

6. Wilmot’s Warehouse

This is a last-minute entry in my 2019 list, but Wilmot’s Warehouse instantly won me over by getting all of the gears in my head to click into place. It is a game all about organization, but the hook of this game is that players can organize everything in any way they want to. As such, the game essentially becomes a Rorschach test for whoever tries to play it—what does the way you organize your warehouse tell about how you live your life? Perhaps by color, by category, or some other wild methodology of your own invention?

Wilmot’s Warehouse is almost like a single-player Overcooked, but with a lot more versatility and room to work with. It has a charming minimalist art style, with some lovely motivational posters to come with it. It is challenging, less so because of everything the game throws at you and more so because your own methods and styles will begin to crack and fall apart. It also makes you wonder about the infrastructures we have in real-life, and why giant corporations at Amazon can’t seem to come up with proper organizational strategies that don’t exploit and abuse their warehouse workers. I guess it’s just a fantasy at this point!

5. Death Stranding

Honestly, I’m surprised that I bought Death Stranding in the first place. I was anything but a Hideo Kojima stan, and much of the previews and the pre-release discussions over the game were quick to turn me off for a variety of reasons. Once Kojima and company began to actually show gameplay, however, something resonated with me. Yes, you can derogatorily call this game a “walking simulator,” but I am all about games where traversal itself is a puzzle. There’s that whole cliched pitch of “You see that mountain? You can go there!” but what if that phrase was just the premise of an entire video game?

There’s more to it, of course, but the story is absolute crap with a total lack of subtlety, nuance, and sensitivity. Even as I rolled my eyes at pretty much every single cutscene in the game, I spent endless nights on Death Stranding, optimizing the amount of weight I was carrying and carefully planning out routes, not to mention becoming obsessive over building projects. And once the chiral network aspect of the game comes into play, it becomes more of a unique massively-multiplayer co-operative game of sorts, with other players’ buildings and structures coming as assistance in the most harrowing of scenarios. Awful story but addicting gameplay was enough to put Death Stranding smack dab in the middle of my favorite games from 2019.

Check out DualShockers’ review for Death Stranding.

4. Apex Legends

If we’re going to talk about surprises, then I am required by law to write about Apex Legends, because just the existence of that game alone was a surprise. Announced right before its release, Apex Legends appears to be the end-all-be-all battle royale only by looking at its feature set, but it absolutely earns the title once you pick up the game and play it—I don’t think anyone can possibly deny that games from Respawn Entertainment feel good. It’s fast, responsive, but most importantly, it’s just fun.

I’m not an expert on multiplayer balance, but I’ve personally found every character in Apex Legends to be viable. The game’s design is full of so many smart decisions, from the concept of the Jumpmaster, to how inventory is handled, the diverse hero abilities, the respawning, and especially, especially the Ping system. This game has so many quality-of-life features that I never even knew I needed, and they make any session, whether it’s with a close group of friends or with complete strangers without microphones, feel like a breeze. After playing Apex, why even bother with any other battle royale shooter in 2019?

Check out DualShockers‘ review for Apex Legends.

3. Control

Man, this game is cool. I can’t think of any other video game in 2019 where I would actually read through all of the pick-ups and collectibles and logs, but Control had me going through every piece of lore the game threw at me like a drug. This game, more than almost any other game, inspired curiosity in me. It is esoteric without being pretentious, it is bizarre without being off-putting, and there is rarely any sort of disconnect between the narrative and the actual gameplay.

It may take a bit of time to get into the combat flow of Control, but the trials and tribulations leading up to that are worth it. Eventually, you’ll have a number of psychic powers and weapon forms to utilize as tools of destruction, and as you get used to the enemies and their behavior, each encounter will feel like a fast-paced game of chess. The latest from Remedy Entertainment was enough evidence that I needed to get into their previous stuff, so I spent some time with Alan Wake and Quantum Break as well. No one quite does such an excellent blend of surrealism, world-building, and combat like that studio.

Check out DualShockers’ review for Control.

2. Katana Zero

I’ve been becoming more and more tolerant of difficult fast-paced trial-and-error games (see: Hotline Miami, Super Meat Boy), but Katana Zero may perhaps be the first one of these games that I barreled through with few breaks in between. The premise of this side-scrolling action game with its drug-induced time-manipulation and the fast and twitchy gameplay demanded my attention and time, and boy did I give this game just that. There were too many deaths to count on the way to the end, but all was worth it.

Katana Zero is infused with a neon art style and rousing electronic music, which further enhanced the compelling gameplay. It all comes down to planning, looking at the scenario at hand and taking into account reaction times and all of the environmental pieces around you to brutally dispatch your enemies while also avoiding their own attacks. And your katana-wielding character is thinking about all of this too, as your failed attempts are actually (at least, the way I interpreted it) the scenarios in his head that just didn’t work out. It is perhaps the smartest game I’ve played in 2019 in merging story and gameplay together, and out of all of the titles on this list, this is the one that I want a narrative sequel to the most.

Check out DualShockers‘ review for Katana Zero.

1. Sayonara Wild Hearts

After writing a review of over 1,500 words for Sayonara Wild Hearts, I’m not even sure what else I can say about it. But in the context of my personal life, I should say that it came at exactly the right time in my life. Underneath all of the colors and the fanciful style is a story about overcoming depression and getting outside of your comfort zone to lead a truly happy life. All of the other games on the list I probably could have played at any point in my life and enjoyed it all the same, but Sayonara Wild Hearts feels like the definitive 2019 game for how my year went.

Even months after the game came out, I still came back to Sayonara, one reason being to finally achieve some of those Gold Ranks, but mostly just to try to live the euphoria of the emotional experiences that this game provided me; somehow, the entire “Begin Again” sequence is still enough to get me near tears, producing the same powerful reaction each time ever since I first played a demo of this at PAX East. I still listen to the soundtrack on a regular basis, letting myself get lost in the soundscapes—eventually, I would actually seek out the lyrics to these songs, and I would find the written words to be just as touching.

I was used to my safety and peace I mistook all this tedium with being at ease But then you came around, said “it’s time to let go” And you took me to a place I don’t know

Check out DualShockers‘ review for Sayonara Wild Hearts, from yours truly.

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Check out the rest of the DualShockers staff Top 10 lists and our official Game of the Year Awards:

December 23: DualShockers Game of the Year Awards 2019 December 25: Lou Contaldi, Editor-in-Chief // Logan Moore, Managing Editor December 26: Tomas Franzese, News Editor // Ryan Meitzler, Features Editor December 27: Mike Long, Community Manager // Scott White, Staff Writer December 28: Chris Compendio, Contributor // Mario Rivera, Video Manager // Kris Cornelisse, Staff Writer December 29: Scott Meaney, Community Director // Allisa James, Senior Staff Writer // Ben Bayliss, Senior Staff Writer December 30: Cameron Hawkins, Staff Writer // David Gill, Senior Staff Writer // Portia Lightfoot, Contributor December 31: Iyane Agossah, Senior Staff Writer // Michael Ruiz, Senior Staff Writer // Rachael Fiddis, Contributor January 1: Ricky Frech, Senior Staff Writer // Tanner Pierce, Staff Writer

December 28, 2019 10:00 AM EST

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Pop Picks — May 19, 2019

May 19, 2019

What I’m listening to:

I usually go to music here, but I was really moved by this podcast of a Davis Brooks talk at the Commonwealth Club in Silicon Valley: https://www.commonwealthclub.org/events/archive/podcast/david-brooks-quest-moral-life. While I have long found myself distant from his political stance, he has come through a dark night of the soul and emerged with a wonderful clarity about calling, community, and not happiness (that most superficial of goals), but fulfillment and meaning, found in community and human kinship of many kinds. I immediately sent it to my kids.

What I’m reading:

Susan Orlean’s wonderful The Library Book, a love song to libraries told through the story of the LA Central Library. It brought back cherished memories of my many hours in beloved libraries — as a kid in the Waltham Public Library, a high schooler in the Farber Library at Brandeis (Lil Farber years later became a mentor of mine), and the cathedral-like Bapst Library at BC when I was a graduate student. Yes, I was a nerd. This is a love song to books certainly, but a reminder that libraries are so, so much more. It is a reminder that libraries are less about a place or being a repository of information and, like America at its best, an idea and ideal. By the way, oh to write like her.

What I’m watching:

What else? Game of Thrones, like any sensible human being. This last season is disappointing in many ways and the drop off in the writing post George R.R. Martin is as clear as was the drop off in the post-Sorkin West Wing. I would be willing to bet that if Martin has been writing the last season, Sansa and Tyrion would have committed suicide in the crypt. That said, we fans are deeply invested and even the flaws are giving us so much to discuss and debate. In that sense, the real gift of this last season is the enjoyment between episodes, like the old pre-streaming days when we all arrived at work after the latest episode of the Sopranos to discuss what we had all seen the night before. I will say this, the last two episodes — full of battle and gore – have been visually stunning. Whether the torches of the Dothraki being extinguished in the distance or Arya riding through rubble and flame on a white horse, rarely has the series ascended to such visual grandeur.

Archive

March 28, 2019

What I’m listening to:

There is a lovely piece played in a scene from A Place Called Home that I tracked down. It’s Erik Satie’s 3 Gymnopédies: Gymnopédie No. 1, played by the wonderful pianist Klára Körmendi. Satie composed this piece in 1888 and it was considered avant-garde and anti-Romantic. It’s minimalism and bit of dissonance sound fresh and contemporary to my ears and while not a huge Classical music fan, I’ve fallen in love with the Körmendi playlist on Spotify. When you need an alternative to hours of Cardi B.

What I’m reading:

Just finished Esi Edugyan’s 2018 novel Washington Black. Starting on a slave plantation in Barbados, it is a picaresque novel that has elements of Jules Verne, Moby Dick, Frankenstein, and Colson Whitehead’s Underground Railroad. Yes, it strains credulity and there are moments of “huh?”, but I loved it (disclosure: I was in the minority among my fellow book club members) and the first third is a searing depiction of slavery. It’s audacious, sprawling (from Barbados to the Arctic to London to Africa), and the writing, especially about nature, luminous.

What I’m watching:

A soap opera. Yes, I’d like to pretend it’s something else, but we are 31 episodes into the Australian drama A Place Called Home and we are so, so addicted. Like “It’s AM, but can’t we watch just one more episode?” addicted. Despite all the secrets, cliff hangers, intrigue, and “did that just happen?” moments, the core ingredients of any good soap opera, APCH has superb acting, real heft in terms of subject matter (including homophobia, anti-Semitism, sexual assault, and class), touches of our beloved Downton Abbey, and great cars. Beware. If you start, you won’t stop.

February 11, 2019

What I’m listening to:

Raphael Saadiq has been around for quite a while, as a musician, writer, and producer. He’s new to me and I love his old school R&B sound. Like Leon Bridges, he brings a contemporary freshness to the genre, sounding like a young Stevie Wonder (listen to “You’re The One That I Like”). Rock and Roll may be largely dead, but R&B persists – maybe because the former was derivative of the latter and never as good (and I say that as a Rock and Roll fan). I’m embarrassed to only have discovered Saadiq so late in his career, but it’s a delight to have done so.

What I’m reading:

Just finished Marilynne Robinson’s Home, part of her trilogy that includes the Pulitzer Prize winning first novel, Gilead, and the book after Home, Lila. Robinson is often described as a Christian writer, but not in a conventional sense. In this case, she gives us a modern version of the prodigal son and tells the story of what comes after he is welcomed back home. It’s not pretty. Robinson is a self-described Calvinist, thus character begets fate in Robinson’s world view and redemption is at best a question. There is something of Faulkner in her work (I am much taken with his famous “The past is never past” quote after a week in the deep South), her style is masterful, and like Faulkner, she builds with these three novels a whole universe in the small town of Gilead. Start with Gilead to better enjoy Home.

What I’m watching:

Sex Education was the most fun series we’ve seen in ages and we binged watched it on Netflix. A British homage to John Hughes films like The Breakfast Club, Ferris Bueller’s Day Off, and Pretty in Pink, it feels like a mash up of American and British high schools. Focusing on the relationship of Maeve, the smart bad girl, and Otis, the virginal and awkward son of a sex therapist (played with brilliance by Gillian Anderson), it is laugh aloud funny and also evolves into more substance and depth (the abortion episode is genius). The sex scenes are somehow raunchy and charming and inoffensive at the same time and while ostensibly about teenagers (it feels like it is explaining contemporary teens to adults in many ways), the adults are compelling in their good and bad ways. It has been renewed for a second season, which is a gift.

January 3, 2019

What I’m listening to:

My listening choices usually refer to music, but this time I’m going with Malcolm Gladwell’s Revisionist History podcast on genius and the song Hallelujah. It tells the story of Leonard Cohen’s much-covered song Hallelujah and uses it as a lens on kinds of genius and creativity. Along the way, he brings in Picasso and Cézanne, Elvis Costello, and more. Gladwell is a good storyteller and if you love pop music, as I do, and Hallelujah, as I do (and you should), you’ll enjoy this podcast. We tend to celebrate the genius who seems inspired in the moment, creating new work like lightning strikes, but this podcast has me appreciating incremental creativity in a new way. It’s compelling and fun at the same time.

What I’m reading:

Just read Clay Christensen’s new book, The Prosperity Paradox: How Innovation Can Lift Nations Out of Poverty. This was an advance copy, so soon available. Clay is an old friend and a huge influence on how we have grown SNHU and our approach to innovation. This book is so compelling, because we know attempts at development have so often been a failure and it is often puzzling to understand why some countries with desperate poverty and huge challenges somehow come to thrive (think S. Korea, Singapore, 19th C. America), while others languish. Clay offers a fresh way of thinking about development through the lens of his research on innovation and it is compelling. I bet this book gets a lot of attention, as most of his work does. I also suspect that many in the development community will hate it, as it calls into question the approach and enormous investments we have made in an attempt to lift countries out of poverty. A provocative read and, as always, Clay is a good storyteller.

What I’m watching:

Just watched Leave No Trace and should have guessed that it was directed by Debra Granik. She did Winter’s Bone, the extraordinary movie that launched Jennifer Lawrence’s career. Similarly, this movie features an amazing young actor, Thomasin McKenzie, and visits lives lived on the margins. In this case, a veteran suffering PTSD, and his 13-year-old daughter. The movie is patient, is visually lush, and justly earned 100% on Rotten Tomatoes (I have a rule to never watch anything under 82%). Everything in this film is under control and beautifully understated (aside from the visuals) – confident acting, confident directing, and so humane. I love the lack of flashbacks, the lack of sensationalism – the movie trusts the viewer, rare in this age of bombast. A lovely film.

December 4, 2018

What I’m listening to:

Spending a week in New Zealand, we had endless laughs listening to the Kiwi band, Flight of the Conchords. Lots of comedic bands are funny, but the music is only okay or worse. These guys are funny – hysterical really – and the music is great. They have an uncanny ability to parody almost any style. In both New Zealand and Australia, we found a wry sense of humor that was just delightful and no better captured than with this duo. You don’t have to be in New Zealand to enjoy them.

What I’m reading:

I don’t often reread. For two reasons: A) I have so many books on my “still to be read” pile that it seems daunting to also rereadbooks I loved before, and B) it’s because I loved them once that I’m a little afraid to read them again. That said, I was recently asked to list my favorite book of all time and I answered Leo Tolstoy’s Anna Karenina. But I don’t really know if that’s still true (and it’s an impossible question anyway – favorite book? On what day? In what mood?), so I’m rereading it and it feels like being with an old friend. It has one of my very favorite scenes ever: the card game between Levin and Kitty that leads to the proposal and his joyous walking the streets all night.

What I’m watching:

Blindspotting is billed as a buddy-comedy. Wow does that undersell it and the drama is often gripping. I loved Daveed Diggs in Hamilton, didn’t like his character in Black-ish, and think he is transcendent in this film he co-wrote with Rafael Casal, his co-star. The film is a love song to Oakland in many ways, but also a gut-wrenching indictment of police brutality, systemic racism and bias, and gentrification. The film has the freshness and raw visceral impact of Spike Lee’s Do the Right Thing. A great soundtrack, genre mixing, and energy make it one of my favorite movies of 2018.

October 15, 2018

What I’m listening to:

We had the opportunity to see our favorite band, The National, live in Dallas two weeks ago. Just after watching Mistaken for Strangers, the documentary sort of about the band. So we’ve spent a lot of time going back into their earlier work, listening to songs we don’t know well, and reaffirming that their musicality, smarts, and sound are both original and astoundingly good. They did not disappoint in concert and it is a good thing their tour ended, as we might just spend all of our time and money following them around. Matt Berninger is a genius and his lead vocals kill me (and because they are in my range, I can actually sing along!). Their arrangements are profoundly good and go right to whatever brain/heart wiring that pulls one in and doesn’t let them go.

What I’m reading:

Who is Richard Powers and why have I only discovered him now, with his 12th book? Overstory is profoundly good, a book that is essential and powerful and makes me look at my everyday world in new ways. In short, a dizzying example of how powerful can be narrative in the hands of a master storyteller. I hesitate to say it’s the best environmental novel I’ve ever read (it is), because that would put this book in a category. It is surely about the natural world, but it is as much about we humans. It’s monumental and elegiac and wondrous at all once. Cancel your day’s schedule and read it now. Then plant a tree. A lot of them.

What I’m watching:

Bo Burnham wrote and directed Eighth Grade and Elsie Fisher is nothing less than amazing as its star (what’s with these new child actors; see Florida Project). It’s funny and painful and touching. It’s also the single best film treatment that I have seen of what it means to grow up in a social media shaped world. It’s a reminder that growing up is hard. Maybe harder now in a world of relentless, layered digital pressure to curate perfect lives that are far removed from the natural messy worlds and selves we actually inhabit. It’s a well-deserved 98% on Rotten Tomatoes and I wonder who dinged it for the missing 2%.

September 7, 2018

What I’m listening to:

With a cover pointing back to the Beastie Boys’ 1986 Licensed to Ill, Eminem’s quietly released Kamikaze is not my usual taste, but I’ve always admired him for his “all out there” willingness to be personal, to call people out, and his sheer genius with language. I thought Daveed Diggs could rap fast, but Eminem is supersonic at moments, and still finds room for melody. Love that he includes Joyner Lucas, whose “I’m Not Racist” gets added to the growing list of simply amazing music videos commenting on race in America. There are endless reasons why I am the least likely Eminem fan, but when no one is around to make fun of me, I’ll put it on again.

What I’m reading:

Lesley Blume’s Everyone Behaves Badly, which is the story behind Hemingway’s The Sun Also Rises and his time in 1920s Paris (oh, what a time – see Midnight in Paris if you haven’t already). Of course, Blume disabuses my romantic ideas of that time and place and everyone is sort of (or profoundly so) a jerk, especially…no spoiler here…Hemingway. That said, it is a compelling read and coming off the Henry James inspired prose of Mrs. Osmond, it made me appreciate more how groundbreaking was Hemingway’s modern prose style. Like his contemporary Picasso, he reinvented the art and it can be easy to forget, these decades later, how profound was the change and its impact. And it has bullfights.

What I’m watching:

Chloé Zhao’s The Rider is just exceptional. It’s filmed on the Pine Ridge Reservation, which provides a stunning landscape, and it feels like a classic western reinvented for our times. The main characters are played by the real-life people who inspired this narrative (but feels like a documentary) film. Brady Jandreau, playing himself really, owns the screen. It’s about manhood, honor codes, loss, and resilience – rendered in sensitive, nuanced, and heartfelt ways. It feels like it could be about large swaths of America today. Really powerful.

August 16, 2018

What I’m listening to:

In my Spotify Daily Mix was Percy Sledge’s When A Man Loves A Woman, one of the world’s greatest love songs. Go online and read the story of how the song was discovered and recorded. There are competing accounts, but Sledge said he improvised it after a bad breakup. It has that kind of aching spontaneity. It is another hit from Muscle Shoals, Alabama, one of the GREAT music hotbeds, along with Detroit, Nashville, and Memphis. Our February Board meeting is in Alabama and I may finally have to do the pilgrimage road trip to Muscle Shoals and then Memphis, dropping in for Sunday services at the church where Rev. Al Green still preaches and sings. If the music is all like this, I will be saved.

What I’m reading:

John Banville’s Mrs. Osmond, his homage to literary idol Henry James and an imagined sequel to James’ 1881 masterpiece Portrait of a Lady. Go online and read the first paragraph of Chapter 25. He is…profoundly good. Makes me want to never write again, since anything I attempt will feel like some other, lowly activity in comparison to his mastery of language, image, syntax. This is slow reading, every sentence to be savored.

What I’m watching:

I’ve always respected Supreme Court Justice Ruth Bader Ginsburg, but we just watched the documentary RGB. It is over-the-top great and she is now one of my heroes. A superwoman in many ways and the documentary is really well done. There are lots of scenes of her speaking to crowds and the way young women, especially law students, look at her is touching. And you can’t help but fall in love with her now late husband Marty. See this movie and be reminded of how important is the Law.

July 23, 2018

What I’m listening to:

Spotify’s Summer Acoustic playlist has been on repeat quite a lot. What a fun way to listen to artists new to me, including The Paper Kites, Hollow Coves, and Fleet Foxes, as well as old favorites like Leon Bridges and Jose Gonzalez. Pretty chill when dialing back to a summer pace, dining on the screen porch or reading a book.

What I’m reading:

Bryan Stevenson’s Just Mercy. Founder of the Equal Justice Initiative, Stevenson tells of the racial injustice (and the war on the poor our judicial system perpetuates as well) that he discovered as a young graduate from Harvard Law School and his fight to address it. It is in turn heartbreaking, enraging, and inspiring. It is also about mercy and empathy and justice that reads like a novel. Brilliant.

What I’m watching:

Fauda. We watched season one of this Israeli thriller. It was much discussed in Israel because while it focuses on an ex-special agent who comes out of retirement to track down a Palestinian terrorist, it was willing to reveal the complexity, richness, and emotions of Palestinian lives. And the occasional brutality of the Israelis. Pretty controversial stuff in Israel. Lior Raz plays Doron, the main character, and is compelling and tough and often hard to like. He’s a mess. As is the world in which he has to operate. We really liked it, and also felt guilty because while it may have been brave in its treatment of Palestinians within the Israeli context, it falls back into some tired tropes and ultimately falls short on this front.

June 11, 2018

What I’m listening to:

Like everyone else, I’m listening to Pusha T drop the mic on Drake. Okay, not really, but do I get some points for even knowing that? We all walk around with songs that immediately bring us back to a time or a place. Songs are time machines. We are coming up on Father’s Day. My own dad passed away on Father’s Day back in 1994 and I remembering dutifully getting through the wake and funeral and being strong throughout. Then, sitting alone in our kitchen, Don Henley’s The End of the Innocence came on and I lost it. When you lose a parent for the first time (most of us have two after all) we lose our innocence and in that passage, we suddenly feel adult in a new way (no matter how old we are), a longing for our own childhood, and a need to forgive and be forgiven. Listen to the lyrics and you’ll understand. As Wordsworth reminds us in In Memoriam, there are seasons to our grief and, all these years later, this song no longer hits me in the gut, but does transport me back with loving memories of my father. I’ll play it Father’s Day.

What I’m reading:

The Fifth Season, by N. K. Jemisin. I am not a reader of fantasy or sci-fi, though I understand they can be powerful vehicles for addressing the very real challenges of the world in which we actually live. I’m not sure I know of a more vivid and gripping illustration of that fact than N. K. Jemisin’s Hugo Award winning novel The Fifth Season, first in her Broken Earth trilogy. It is astounding. It is the fantasy parallel to The Underground Railroad, my favorite recent read, a depiction of subjugation, power, casual violence, and a broken world in which our hero(s) struggle, suffer mightily, and still, somehow, give us hope. It is a tour de force book. How can someone be this good a writer? The first 30 pages pained me (always with this genre, one must learn a new, constructed world, and all of its operating physics and systems of order), and then I could not put it down. I panicked as I neared the end, not wanting to finish the book, and quickly ordered the Obelisk Gate, the second novel in the trilogy, and I can tell you now that I’ll be spending some goodly portion of my weekend in Jemisin’s other world.

What I’m watching:

The NBA Finals and perhaps the best basketball player of this generation. I’ve come to deeply respect LeBron James as a person, a force for social good, and now as an extraordinary player at the peak of his powers. His superhuman play during the NBA playoffs now ranks with the all-time greats, Larry Bird, Magic Johnson, MJ, Kobe, and the demi-god that was Bill Russell. That his Cavs lost in a 4-game sweep is no surprise. It was a mediocre team being carried on the wide shoulders of James (and matched against one of the greatest teams ever, the Warriors, and the Harry Potter of basketball, Steph Curry) and, in some strange way, his greatness is amplified by the contrast with the rest of his team. It was a great run.

May 24, 2018

What I’m listening to:

I’ve always liked Alicia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.

What I’m reading:

Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia. It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.

What I’m watching:

I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.

April 27, 2018

What I’m listening to:

I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan. Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.

What I’m reading:

I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,” accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.

What I’m watching:

I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.

March 18, 2018

What I’m listening to:

Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.

What I’m reading:

Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.

What I’m watching:

Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news.

March 8, 2018

What I’m listening to:

We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.

What I’m reading:

Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.

What I’m watching:

The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.

February 12, 2018

What I’m listening to:

So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.

What I’m reading:

I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.

What I’m watching:

We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.

January 15, 2018

What I’m listening to:

Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.

What I’m reading:

A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.

What I’m watching:

David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.

December 22, 2017

What I’m reading:

Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.

What I’m watching:

Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.

What I’m listening to:

A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.

November 14, 2017

What I’m watching:

Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?

What I’m reading:

Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.

What I’m listening to:

Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.

November 3, 2017

What I’m reading: Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.

What I’m watching: We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.

What I’m listening to: I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.

September 26, 2017

What I’m reading:

Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.

What I’m watching:

HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.

What I’m listening to:

The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.

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