#Joshua Gallagher

[geekcavepodcast]

The End Trailer

A family survives the end of the world. Then a new face suddenly appears at their bunker.

The End is directed by Joshua Oppenheimer. The film stars Tilda Swinton, George MacKay, Moses Ingram, Bronagh Gallagher, Tim McInnerny, Lennie James, and Michael Shannon. The screenplay by by Oppenheimer and Rasmus Heisterberg. Songs are by Joshua Schmidt and Oppenheimer.

The End releases to theaters on December 6, 2024.

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[ozzyonedge]

Happy 46th Birthday Joshua Jackson!

Born June 11th 1978

[fantastickkay]

From Blast!, February 2000

[randomrichards]

THE END (2024):

Underground bunker

Elites take in a stranger

Songs of loneliness

[moviemosaics]

The End

directed by Joshua Oppenheimer, 2024

[sloshed-cinema]

The End (2024)

Wait, do I actually hate musicals? While they appear to be going through something of a resurgence on film, this year has had a pretty bad batting average for them in terms of consistent quality. Chronicling the whingeing and self-therapy of an unconventional family living in a salt mine bunker two decades after the end of the world, everything stable in The End is thrown into a flux when a newcomer suddenly arrives. Except by ‘flux’, I mean that the wheels keep spinning in a slightly different way than before. For its sprawling 148-minute runtime, it has the content of a roughly 30-minute one act operetta or the like. To fill up all of that extra time, the same plot points and conundrums are presented over and over again: should we kick this new girl out? How are my daddy issues today? How can I fail to confront the past and start to collapse under the weight of my own guilt or denial? With each scene, it’s as if the entire family have had the Men in Black memory eraser applied to them and they’ve totally forgotten anything that happened immediately prior. Only very limited character development occurs throughout, the son slowly coming out of his shell with the aid of the new girl, and the full dark secrets of the mother and father gradually become a little less shadowy. For there is a lot of blood on their hands, after all: the world has ended in climate catastrophe in part due to the man’s ruthlessness as a businessman in the fossil fuel industry. His emotionally stunted son, who has never known life outside the confines of the bunker, writes a revisionist version of his father’s story and learns a glossy version of US history in order to assuage his dad’s guilt. And the boy’s mother withdraws internally any time anything emotionally unsavory is even broached, a bitter and unstable woman haunted by nightmares. The girl is troubled in her own way, racked with guilt over abandoning her family, feeling tainted for surviving in this manner. But the film fails to answer one question: why should we give a damn about any of these rich assholes? As they (and we) push forward into an uncertain future, why are we focusing on the source of the problem, exploring them like they’re anyone worthwhile?

The music in this film is the very definition of a double-edged sword. Joshua Oppenheimer takes an approach similar to that of Jacques Demy in The Umbrellas of Cherbourg or Young Girls of Rochefort, using free-ranging song technique without formal verse-chorus structure or even strict adherence to a single genre of music within the confines of a moment. Traditional Broadway stylings can give way suddenly to sultry jazz or opera-lite in a single turn of phrase. The songs are melodically adventurous (almost too much so at points), and there’s a confidence to how it interweaves multiple viewpoints into trios and quartets. When family members contemplate a common notion, bringing their differing thoughts into focus, it recalls the lyrical sensibilities of Sondheim or Boublil. That's not to say the lyrics are particularly good, of course. It tries. But in execution it’s at points not unlike getting an ice pick driven into the temple. I adore the cast but my god for the purposes of this, what’s the opposite of a triple threat? Pain. Sheer pain. Tilda Swinton proves once again she is one of the most risk-embracing performers working currently and she goes at it with the gusto and conviction of a church lady singing a hymn. Choreography that George MacKay either improvised or was taught is embarrassing and awkward (perhaps befitting of his character, admittedly), and many vocals are either overly processed or could have done with another take. There are so many missed opportunities in this, but with the enormous list of executive producers flashed up front, I suppose it’s a too many cooks situation in terms of bringing out its better notions or avoiding missteps. Audacious missteps should be allowed to happen, I suppose, but perhaps they could be less extreme in what they expect the audience to endure.

This has some absolute S-Tier awkward family dinners. The parents not knowing how to describe wine, the lengthy pauses when everyone realizes they have no fucking clue what even to say, the person who gets overly emotional and then shut down by a horde of repressed masses, the mutual realization that everyone sucks and is boring… is this webcam footage of my family every Thanksgiving?

THE RULES

SIP

Someone says 'family'.

A song begins.

It seems like a song is about to begin but nothing happens.

BIG DRINK

Someone names a color.

The son begins to read from his book.

The girl gets threatened with eviction from the bunker.

[im-suchanicegirl]

HOCKEY HOCKEY HOCKEY

Josh Anderson, Arber Xhekaj, Brendan Gallagher, Nicolas Beaudin, Joshua Roy

[astralfist]

When your muses want love and affection sometimes, but you're just very picky with shipping and only like certain ships for certain muses/characters

[mlleshopping]

Primeau Shines as Montreal Canadiens Goalie in Spectacular Win

The performance of goaltender Primeau in the game was outstanding, as he effectively guarded the net and made crucial saves to secure the win for the Montreal Canadiens. This strong display from Primeau was pivotal in the team’s victory, showcasing his skill and composure under pressure. Canadiens Goaltender Primeau Steals Show Versus Blue Jackets The Montreal Canadiens’ victory showcased…

[cammie-morgan-goode]

Aside from Zach being 6'2 according to the wiki lol, i'm quite curious- do you think he's like, more handsome than Josh? Like no bias aside?

Hmm bias aside, you say?

I can’t explain it but I’ve always pictured Josh as early Nick Jonas…. But only in the curly hair aspect even though I’m pretty sure he didn’t really have like an Afro thing going on.

I feel like Zach is more handsome in the bad boy sense like I-am-attracted-to-you-because-you’re-moody-sense.

But Josh is more handsome in the nerdy boy sense like I-am-attracted-to-you-because-you-look-cute-and-smart-in-you’re-glasses-sense.

So I guess it just depends on preference? Like which type of boy you prefer?

Now, looks aside, like if I didn’t have any character descriptions at all… I would find Zach more attractive simply because of his too-cool-for-you type of attitude.

[jontheblogcentric]

VIFF 2024 Review: The End

I find it quite fitting that the last film of VIFF I saw was titled The End. It’s also interesting that there would be an attempt to create a musical on a subject one would not normally create a musical about. The musical begins in what appears to be a home of a wealthy family. The son is happy with the diorama of America he has. The father and mother consider it the idea life or the dream life.…

[hollywoodhandle]

'The End' Review: A Curiously Poignant Disaster Musical That's Intriguing, Yet Slow

If there was ever a big year for musicals, then this year would be that year. From stellar Broadway adaptations like Wicked to the unorthodox Emilia Pérez, audiences have become accustomed to watching more musicals. Yet, in a time where it seems like the world is going under, some might look for a musical that’s perfectly timely. Luckily, The Act of Killing‘s Joshua Oppenheimer has proudly…

[ozzyonedge]

Happy 45th Birthday Joshua Jackson!

June 11th 1978

[niallodonohoe]

C's Chat - 2023 Vancouver Canadians RHP #29 Pat Gallagher

#VanCanadians #MontysMounties #AtTheNat #BlueJays #LosAzulejos

The latest C’s Chat is with 2023 Vancouver Canadians pitcher Pat Gallagher. The Leominster, Massachusetts native was a letterman in three sports at Leominster High School as he played basketball and football in addition to baseball. Gallagher piled up the strikeouts on the mound for the Blue Devils by whiffing 103 batters over 55 innings in 2018, sporting a perfect 10-0 record and a microscopic…

[sinceileftyoublog]

Noel Gallagher’s High Flying Birds Live Preview: 6/27, Huntington Bank Pavilion, Chicago

BY JORDAN MAINZER

With Council Skies (Sour Mash), Noel Gallagher has finally reached the anthemic heights of his days in Oasis. The fourth album from Noel Gallagher’s High Flying Birds, co-produced with Paul Stacey, has enough songs about big ideas and moods--reflective self-consciousness, persistence, nostalgia, acceptance--to match the grandeur of the band’s instrumentation. 

At least few of the songs on Council Skies were written over lockdown, and Gallagher centers his viewpoints of a world then and now. The dramatic and orchestral “Trying To Find A World That’s Been And Gone Pt. 1″ (in true prog fashion, there’s no Pt. 2 to be found) illustrates the winds of change, almost literally, with chimes and noisy samples of questionable weather. Gallagher sings, his voice strong as ever, “The cold against my shoulder / Always seems to be there / D’you think I’ll ever learn?” a relatable sentiment to anyone who’s ever felt like they can’t learn from their mistakes. At the same time, Gallagher finds the positives, for once, in being defiant. Opener “I’m Not Giving Up Tonight” and the sunny “Open the Door, See What You Find” belie the infamous hedonism of the majority of the band’s existence, Gallagher loving himself as a means of survival rather than ego.

In fact, Gallagher seems as healthily self-deprecating as ever when contextualizing Council Skies. While he got Johnny Marr to lend guitars to a couple tunes, he couldn’t quite land David Gilmour, so he proudly revealed Stacey had to do his best impersonation on lead single “Easy Now”. Gallagher’s the first to admit that the verses are just okay on “Open the Door” (it’s all about the chorus), and that he has no idea why he wrote a nautical song in “There She Blows!”. His transparency and openness with his fans shines on “Dead to the World”, a wistful, admittedly noir tune that nonetheless references Argentinian fans’ penchants for standing outside Gallagher’s hotel and singing Oasis songs 24 hours a day, but getting the words wrong. These tongue-in-cheek Easter eggs are perhaps evidence that Gallagher still truly loves what he does, a phenomenon that makes the sad songs sadder and allows you to get swept away in the affecting, skyward melodies, even if you have no idea why it’s tugging at your heartstrings.

Noel Gallagher’s High Flying Birds play Huntington Bank Pavilion tonight. Legendary alt rockers Garbage co-headline, while Toronto indie rock mainstays Metric open. Gates open at 5:30 PM, show at 7:00. Tickets still available at time of publication, and as of now, the show is still going on despite the dangerous air quality in Chicago. If anything, take this preview as a reminder to listen to Council Skies.