#i love him i love him what a master storyteller his direction was stellar he gave all these characters a third life if you could believe it

[aboutmercy]

finally watched the first slam dunk… oh my god inoue 😭

[justapillowpetpanda]

Prime Video's Fallout: A Devoted Masterpiece [Review]

Fallout on Prime Video is a thrilling and devoted series, taking viewers on a unique journey unlike any other. Ella Purnell, Aaron Moten, Walton Goggins, Moisés Arias, Kyle MacLachlan, Sarita Choudhury, Michael Emerson, and many others make up the talented cast for this season. The series comes from Kilter Films and executive producers Jonathan Nolan and Lisa Joy. Christopher Nolan directed the first three episodes. Geneva Robertson-Dworet and Graham Wagner serve as executive producers, writers, and co-showrunners. All eight episodes of Fallout season one will be available to watch today, April 10th at 6 p.m. PT on Prime Video.

Credit: Prime Video Purnell is Lucy, an optimistic Vault-dweller with an all-American can-do spirit. Her peaceful and idealistic nature is tested when she is forced to the surface to rescue her father. Moten is Maximus, a young soldier who rises to the rank of squire in the militaristic faction called Brotherhood of Steel. He will do anything to further the Brotherhood’s goals of bringing law and order to the wasteland. https://www.youtube.com/watch?v=V-mugKDQDlg Goggins is the Ghoul, a morally ambiguous bounty hunter who holds within him a 200-year history of the post-nuclear world. These disparate parties collide when chasing an artifact from an enigmatic researcher that has the potential to radically change the power dynamic in this world.

Fallout Brings the Wasteland to Prime Video

The masterful storytelling in Fallout is brought to life by its exceptional design, character development, and cast. The first season of the series perfectly captures the oppressive nature of the vaults, but as the story progresses, the exclusivity of these shelters becomes less relevant. The show's quality is a testament to the top-notch writing and direction, as I found myself eagerly watching episode after episode until I was exhausted.

Ella Purnell (Lucy), Credit: Prime Video I’ve played the games and have loved the franchise for years now. The eight episodes maintain the dichotomy between civilization and the uncivilized. Each character receives a unique direction for development. Lucy's changing beliefs as she grows some resistance to surface-dwellers is similar to chugging some Rad-X before entering the Glowing Sea.

Moisés Aria, Credit: JoJo Whilden/Prime Video A poignant exploration of morals and ethics was woven throughout the episodes, impacting each character. I didn’t think I would become so engrossed by the experiences of these characters but I did. Amidst all the anger in the Wasteland, Lucy maintains a strong sense of hope. Meanwhile, her brother Norm becomes increasingly uneasy and angry amid Vault-led perfection. Decay and growth go hand-in-hand in this series both physically and emotionally.

Walton Goggins (The Ghoul), Credit: Prime Video Fallout put together a stellar cast that brought out the camp, comedy, and gut-wrenching drama in each episode. Goggins stepped into two roles that saw life before the bombs fell and centuries later in a radiated wasteland. The character of Ghoul, portrayed by Cooper Howard, serves as a representation of how the pursuit of capitalist success and greed can negatively impact the lives of those in its way. Although the first episode only reveals a glimpse of his life, I believe that his story leading up to the bomb deserves more attention in subsequent seasons.

Aaron Moten (Maximus), Credit: Prime Video The characters of Lucy and Maximus are both naive in different ways. Lucy's ever-changing ideology challenges Maximus, and their growth helps them approach the season's climax. The characters' unique traits shape their reactions to life's darkly comedic events and gut-punches. One person in the cast who surprised me right out of the gate was Moises Arias who played Lucy’s brother. Norm. He does an excellent job at navigating the want for clarity and the fear of what he could find.

Ella Purnell as Lucy, Credit: JoJo Whilden/Prime Just because you might assume what Lucy's journey or character development might look like, it doesn't make it any less impactful. While I could make predictions about how she may or may not change throughout the season, Purnell's portrayal of the character deeply resonated with me. I didn’t expect to care so much for her character or begin to see through her lens as if the series' gameplay was right in front of me.

Ella Purnell (Lucy), Credit: JoJo Whilden/Prime Individual and collective exploration of the buildings and abandoned wasteland of California revealed how much the buildings of Fallout have their unique voices in the season. The end credits and the starting logo in each episode reflected a theme and a setting that connected perfectly to the characters and storyline. In a similar vein, the characters discuss and dwell on the reality that they become products and establishments of what they believe while navigating the wasteland.

Walton Goggins (The Ghoul), Credit: JoJo Whilden/Prime The fans of the game series are always intrigued by the mysterious elements present in them. As we delve deeper into the backstories and settings of the characters, we come to realize that there's a lot of money to be made in the post-apocalyptic world. The phrase "war never changes" is commonly heard in Fallout 4 and other games, and, indeed, the effects of capitalism can still be seen in the wasteland. https://www.youtube.com/watch?v=4iZl7Ncyyhg The ProSnap camera, the Nuka Colas, the absurd Vault-Tec posters, and so much more are expertly designed for this series. The attention to detail is astounding and the music perfectly encapsulates the rollercoaster of emotions present in the games and this season’s journey. As an artist, I immediately loved the color scheme and tone used throughout the episodes. The visual illusion of joy inherent in an environment like Vault 33 matches up against the parallels of the Wasteland. The foley, music, and sound mixing echo the brutality and idyllic mid-century modern aesthetic of Fallout.

Ella Purnell, Michael Emerson, Dale Dickey, Credit: JoJo Whilden/Prime Video The creative team did an excellent job. They designed an alliance between the decrepit visuals of a post-apocalyptic world and the odd surge of hope present in the capitalist structures in advertisements and art of the past. Stimpacks, Jet, the town of Filly, and pretty much everything else (even the homes crumbling and filled at 90-degree angles with sand) were nearly flawless.

Brotherhood of Steel, Credit: JoJo Whilden/Prime Even large-scale pieces of factions, such as the Power Armor or Vertibirds used by the Brotherhood of Steel, were shown careful attention. At times it felt like I was playing the game itself when watching, just a pure love and dedication to Fallout could be felt in every moment.  Certain lore is expanded upon for the smaller things (creatures, survival, and more). It’s so obvious that this is a loved project.

Power Suit, Credit: Prime Video Items like the Pip-Boy didn’t feel overused but instead, it often helped guide the story and Lucy without becoming more of a symbol to overshadow the series. The gore and bloody action are perfect for Fallout and trust me you get all the grotesque and absurd violence one loves from the games.

Moisés Arias, Dave Register, Credit: JoJo Whilden/Prime Any rare complaints from the season would relate to minor design flaws. Anything I found an issue with appeared more in the first episode. The appearance of some of the Brotherhood of Steel felt too theatric at times when it came to stunts. Otherwise, the faction itself had an excellent representation of eerie fascist & fundamentalist ideology in the season. https://twitter.com/falloutonprime/status/1777893465957061073 There were a few minor issues with the visuals in the show. For example, Brahmin and other animals did not look as if they were decrepit or diseased enough for the post-apocalyptic setting. Sometimes, even sick animals appeared healthy, but fortunately, this improved as the episodes progressed. It would have been great to see a greater variety of characters, but the mere suggestion of their existence gave hope for their appearance in a future season.

Ella Purnell (Lucy), Kyle MacLachlan (Overseer Hank), Credit: Prime Video Fallout does an excellent job of capturing the essence of the game's universe and presents a captivating story that spans eight episodes. The show effectively portrays the cyclical nature of trauma and how individuals find ways to survive even in the most hopeless situations. The full force of the mystery loved by Fallout fans is brought out. Details are woven in, which pick up on questions and answers being asked. I loved every moment of this season and I hope more seasons are headed our way! You can watch all eight episodes of Fallout on Prime Video starting today at 6 PM PT.

Fallout Season One Review:

9/10

Read the full article

[themosleyreview]

The Mosley Review: Halloween Kills

Hmph. Well that was an interesting direction to this franchise. I honestly can't think of any franchise that has had so many sequels, retcons, reboots, re-imaginings, requels and is still thriving. This franchise is known for its creatively brutal kills and sometimes its decent stories. In 2018, the ultimate retcon/reboot of the franchise happened and I thought it was fun and an excellent new direction for our favorite killer to go on. What surprised me this time around is the consistency of keeping the same tone and reverence for the original in every frame. All the sequels that have been made with the exception of Halloween: H20, have been bland and couldn't truly live up to the standard set back in 1978. This film continues that same attention to detail and is also a welcomed treat for fans of the series. I liked that it picks up immediately after the events of the 2018 film and answers a question I've always had. What would the people of Haddenfield do if they knew Michael was walking around killing people again in this day and age? I did like that this film also had a morality tale amongst the carnage. Its stereotypically over acted and so cheesy in execution, but still fun. That's truly what you come to these films for and I had exactly that, fun.

Jamie Lee Curtis returns as Laurie Strode and she stills delivers a stellar performance. She still is the strong survivalist you know and love but following the events of the past film, she takes a side seat in this chapter. Judy Greer was still excellent as her estranged daughter Karen. She carries the emotional weight of the story throughout and that truly is her forte. Andi Matichak gives a knockout performance as her daughter Allyson as she gets into the action this time around. I loved her natural progression from being a scared teen to now taking action against her foe. She really reminded me of a young Laurie in many ways. Will Patton was great as Deputy Hawkins and I liked that he had more chemistry with Laurie. There is more to his story and Thomas Mann's performance as the younger version of him was great. Anthony Michael Hall swings for the fences as the older version of Tommy Doyle from the 1978 film. He opens up the fun aspect of the survivors of Michael's tyranny, but man does he has some truly over the top and very cheesy lines to deliver and it ranges from fun to parody. I still liked how he was the face of what ignorance and rage can cause a town to become. Alot of the original actors from the 1978 film and the now retconned Halloween II return, but there is one cameo that is amazingly done and I won't spoil it here. James Jude Courtney returns as Michael Myers and he was even more unstoppable and viciously creative in his ways of killing. You get a bit more in depth with the character and I loved that the film completely rewrites his origin and abilities as a human.

The score by the master John Carpenter, his son Cody and Daniel Davies was even more excellent this time around. It truly helped sale the scares and elevated the brutality with every murderous note. The amount of growing tension and dread was perfect captured in their sometime thunderous, whimsical and haunting score. The cinematography was gorgeous as we switch back and forth from the 70's film stock look to modern day. The only problems I had were with the obvious storytelling, beyond terrible line deliveries and heavy handed social message. Overall, its a Halloween film in the vein of the original and you know what you're getting into. I had fun with it and I think you will too. Let me know what you thought of the film or my review in the comments below. Thanks for reading!

[gffa]

I was asked by @grasswatcher for fics that explore STAR WARS’ Jedi culture and this is one of those subjects that’s dearest to my heart, because I constantly crave more exploration of what it must be like to be a Level 100 Space Psychic in touch with an ancient, unfathomable energy field that creates feedback loops in your head and connects you to all living things and can overwhelm you so easily if you don’t have your shit together, just as much as I want to know about Jedi traditions and Jedi artwork and Jedi philosophy and Jedi stories and Jedi language and all of it. There have been some pretty stellar ones out there, sometimes deep dives, sometimes just weaving bits into the background and I love them all and want a thousand more immediately! STAR WARS FIC RECS - JEDI CULTURE: ✦ The Mathematics of Repair by panharmonium, obi-wan & anakin & cast, 4.6k   For raw teachers and rough-edged students building in the rubble: tiny steps are enough, provided they carry you in the right direction. Immediately post TPM, in short snippets. ✦ In All The World by Ammar, obi-wan & anakin & cast, 76.6k wip   The story of how Anakin Skywalker and Obi-Wan Kenobi tamed each other, from Naboo to Anakin’s early days at the Temple. ✦ Supreme Chancellor Obi-Wan Kenobi by stonefreak, obi-wan & anakin & padme & ahsoka & palpatine & cody & cast, ~30k wip   or: “Obi-Wan’s Life Gets Worse (Though It’s Not As Bad As It Could’ve Been)” ✦ Cataclasm by dendral, obi-wan & anakin & ahsoka & waxer & cast, 51.9k wip   For reasons unknown to all but himself, Obi-Wan Kenobi has left the Jedi Order in the midst of the Clone Wars, taking with him a single clone. Anakin Skywalker has been unofficially tasked by the Order to find Obi-Wan and bring him home. Unfortunately for Anakin, it seems his former master is always ten steps ahead of him. ✦ Remedial Jedi Theology by MarbleGlove, obi-wan & anakin & mace & palpatine & cast, 51.3k   Let us consider the fact that the Jedi Order is a monastic religious organization based out of a temple, with five basic tenets of faith. ✦ We Will Abide by naberiie, plo & shaak, 10.3k   Light. Dark. Balance. Beneath the Jedi Temple, far below the chaos of Coruscant’s Galactic City, ancient halls and corridors sleep in silent darkness. Padawans Shaak Ti and Plo Koon are determined to explore them. ✦ The Living Force; Parables for Padawans by glorious_clio, obi-wan & cast, 6.1k   Since infancy, younglings are taught the Jedi Code, “Emotion, yet peace. Ignorance, yet knowledge. Passion, yet serenity. Chaos, yet harmony. Death, yet the Force.” Obi-Wan Kenobi learns these tenets backwards and forwards again. But even as a child, he is interested in nuance. And so his teachers tell him parables. ✦ Lineage by ruth baulding, obi-wan & qui-gon & xanatos & cast, 35.9k   AU!Jedi Apprentice. Book I: In which master and apprentice meet for the first time, enjoy a disastrous adventure courtesy of Xanatos DuCrion, and reap the fruits of patience and fortitude. A fanciful retelling of the original. ✦ Lineage II by ruth baulding, obi-wan & qui-gon & cast, 40.9k   A year or so has elapsed since the last time we saw our heroes. BOOK 2: In which master and apprentice investigate an evil brainwashing plot, attend a boisterous wedding, and battle the enemy within. ✦ Lineage III by ruth baulding, obi-wan & qui-gon & dooku & xanatos & bant & cast, 49.4k   AU!Jedi Apprentice. Book III: Master and apprentice face an important rite of passage, grapple with a traitorous plot within the Temple’s walls, and discover the limits of obedience and intuition. Appearances by Bant Eerin, Xanatos DuCrion, Yan Dooku, and others. ✦ Lineage IV by ruth baulding, obi-wan & qui-gon & siri & adi gallia, 39.3k   Master and apprentice endure a stint with the Agri-Corps, and find that trouble has a way of coming home to haunt them. Featuring a pile of bantha poodoo, a tentacled carnivorous plant, a desperate escaped convict, and a highly provocative young woman. ✦ Lineage V by ruth baulding, obi-wan & qui-gon & tahl (& some qui-gon/tahl) & dooku & cast, 50.7k   An evil scientist wreaks havoc when she captures Jedi Knight Tahl Uvain for purposes of obscure research; Qui-Gon Jinn and his Padawan rush to the rescue, only to be embroiled in further trouble; and Master Dooku joins in the hunt with characteristic aplomb. ✦ Lineage VI by ruth baulding, obi-wan & qui-gon & cast, 66.2k   Master and apprentice undertake a risky undercover mission to expose conspiracy in a far-flung sector; a comedy of manners abruptly transforms into a nightmare when their cover is blown; and a desperate escape gambit strikes deep at the foundations of trust. ✦ Lineage VII by ruth baulding, obi-wan & qui-gon & siri & adi gallia & some obi-wan/siri, 74.5k   Sent to the aid of their fellow Jedi on a disastrous mission to New Apsolon, master and apprentice contend with brainwashing, genocide, conspiracy, and the perilous realm of the heart. ✦ What Is My Heritage? by Marnie, qui-gon & yoda, 7.7k   Qui-Gon, age 13, tries to find a place to belong. ✦ Coming Home by Marnie, qui-gon & yoda & dooku, 18.1k   A story telling how Qui-Gon comes to be Dooku’s apprentice. ✦ Snakefic by esama, obi-wan & anakin & qui-gon & yoda & cast, 6k   It was only the matter of time before the egg hatched. ✦ Shadows of the Future by stormqueen873, obi-wan & anakin & qui-gon & cast, 129.3k   ObiWan lost the duel on Mustafar, but instead of dying, he finds himself on a ship leaving Tatooine, with his old Master and a familiar young boy. As events begin to unfold, can he stop the future he knows from occuring? ✦ The Ice-Breaking Game by sharkcar, padme & ahsoka & rex & cast, 7.1k   After contracting the Blue Shadow virus, Ahsoka Tano is quarantined in Theed, along with Senator Amidala and Captain Rex. They are three very different people, but they all share a restlessness that leaves them unable to endure their confinement. To pass the time, Padme suggests they play a question game, each telling stories about personal experiences. As all three share a humorous discussion, they learn about compassion and the importance of knowing perspectives different from their own. ✦ When Darkness Seems to Hide This Place by IllyanaA, obi-wan & anakin & ahsoka & kanan & ocs & cast, 94.9k wip   After killing three of the Jedi Order’s best and brightest, Palpatine’s fight with Jedi Master Mace Windu goes shorter than expected. Afraid he’s lost his chance at recruiting a new apprentice, Sidious unleashes Order 66 across the galaxy, but, per their programming, the Clone Army is not to harm Anakin Skywalker. After witnessing the most painful loss he’s ever experienced and injured at the hands of his captors, Anakin is ready to die like the rest of the Jedi, though not before getting his vengeance. ✦ A Long, Long Time Ago by ruth baulding, dooku & qui-gon + qui-gon & obi-wan + obi-wan & anakin + anakin & ahsoka, 5.8k   A wisdom tale handed passed down through the generations poses troublesome questions for a line of masters and Padawans, from Dooku to Ahsoka Tano. ✦ Adi Gallia, Master of the Order by Perspicacia, adi & obi-wan & anakin & mace & cin & ahsoka & riyo & rex & cast, 7.2k   Ashes in her heart, she had left the younglings and the elders and the wounded for her duty to the galaxy, choosing to stop the Sith instead of protecting her people. ✦ The Apprenticeship by Nny11, ahsoka & yoda & anakin & cast, 31.4k wip   The doors only open when a Master opens them for their Padawan, a subtle reminder to them that a student needs a teacher’s guidance and that teachers must let them go. The force thinks it’s rather funny when it alters history by forcing Master Yoda to take on a very young Ahsoka Tano as his Padawan. ✦ Goreblood the Terrible by BloodyMary, jedi & cast, 1.7k   It has occured to me that so far we lack any sort of folklore/storytelling tradition for the Jedi. So I set out to remedy this. Behold, for Goreblood the Terrible was the result. ✦ “The Padawan Chooses The Master” by lurkingcrow, obi-wan & anakin & cast, 3.6k   prompt: AU - The Jedi say “The Padawan Chooses The Master” Qui Gon lives, Obi Wan is very preoccupied, and Anakin is put into the creche as an Initiate to learn what he can until Qui Gon wakes up from his coma and gets yelled at by the Council. In the meantime, Anakin meets other Jedi Masters and when the Council asks him who he wants to be his teacher, his answer isn’t Qui Gon. Instead it’s *insert your fav Jedi here* ✦ Brothers (working title) by Charity_Angel, obi-wan & anakin & qui-gon & padme & shmi & yoda & cast, 22.7k wip   In which Qui-Gon has a very near miss on Naboo, Obi-Wan is very stubborn, and they end up breaking a lot of rules accidentally as a result. All because of that kid they picked up on Tatooine. ✦ Under a purple sun… by Perspicacia, obi-wan & ahsoka, ~1k   Ahsoka hadn’t been happy when Skyguy had left her with Master Kenobi for this mission, but it was still good to spend time with her Grand Master. ✦ Hondo Kenobi by StarWarsSyl, obi-wan & hondo & cast, 2.6k   It’s not every day the pirate Hondo calls Obi-Wan in to give him a baby. ✦ Duet by Silver Sky 1138, oc & cin, 2.3k   Asha Scarsi, the Jedi Padawan who feels the Force through music, isn’t half as good at lightsaber combat as she is at singing and mindtricks. So she’s a little nervous when Battlemaster Cin Drallig calls her to the training room after class. ✦ The Only Home We Know by ReneeoftheStars, katooni & petro & ganodi & byph & gungi & zaft & cast, character death, child death, 2.4k   The Jedi Temple is under attack. Determined to fight for their home, younglings Katooni, Petro, Zatt, Ganodi, Byph, and Gungi make their way to aid the Jedi Masters in defense of the Temple. But the situation is far graver than they expected. ✦ The One Where Anakin Tries to Be Serious by GirlwithCurls98, anakin & ahsoka, 1k   Even though they’re fighting a war, Anakin finds the time to lead his apprentice through one of the Jedi’s sacred ceremonies. ✦ Obi-Wan and the Force by AwayOHumanChild, obi-wan & cast, ~1k   One of the first things Jedi Initiates learn is that everyone experiences the Force differently. ✦ All That I Have Seen by Felilla, ocs & ahsoka & anakin & obi-wan & yoda & cast, time travel, 35.3k wip   She died in the Temple, staring into the face of a man that she once looked up to, a man that she once thought to be a great Jedi. She awoke in the Temple, years before that event took place. Years before everything went wrong. And she decided to make it right. ✦ Knightrise by Deviant_Accumulation, obi-wan & ahsoka & satine & rex & cast, 19.4k wip   “Strong enough to fight the Sith Lord, you are not.” “And you are?” ✦ Markings by wabbajack, plo & ahsoka & bultar & cast, 1.6k   In which it is revealed that Master Plo Koon has always had a difficult time putting his foot down when faced with his Little ‘Soka. ✦ Night Shift at the Temple by ReneeoftheStars, oc jedi & cast, 1.8k   A Jedi Temple Guard sees all, speaks to few, and has attachments to no one. One must be prepared for any threats that may arise, especially at night, while most of the Temple sleeps. ✦ Jedi of Light by Sannah, obi-wan/anakin/padme & mace & yoda & plo & even & jocasta & cast, 9.4k wip   Out of irritation with the war and with permission from the Council, several talk show hosts create a show that airs weekly about the Jedi. They name the show *Jedi of Light,* and go around following Jedi and asking them questions. ✦ Supreme Chancellor Obi-Wan Kenobi by stonefreeak, obi-wan & anakin & padme & palpatine & bail & cast, 29.2k wip   By an old Republic law, all members of the Jedi High Council are senators in the Galactic Senate, and can thus be voted in as chancellor. ✦ The First Trial by Raven_Knight, obi-wan & qui-gon, 2k   Accompanied by his Master, Qui-Gon Jinn, young Obi-Wan Kenobi undergoes his first trial and rite as a Padawan Learner on the frozen planet of Ilum. ✦ Arrival by CJinn, obi-wan & yoda & cast, 2.6k   Little Obi-Wan was only a few days old when he was brought to the Jedi Temple. His arrival caused some confusion among the Jedi. ✦ Found Clan by silvergryphon, boba & ocs & obi-wan & anakin & cast, 18.4k wip   After the Battle of Geonosis, a Jedi Healer discovers young Boba Fett mourning the loss of his father. Not about to leave a ten-year-old boy on his own, she promptly adopts him with the full collusion of her Padawan. ✦ Tipping Point by Ria Talla (ronia), adi gallia & finis valorum & eeth koth, 3.3k   “I believe that if what’s happening on Naboo is allowed to continue, the other member systems will wonder what they owe to a Republic that can no longer protect them.” ✦ A Personal Touch by DragonHoardsBooks, obi-wan & anakin, 6.2k   New jedi padawan Anakin Skywalker realizes that there is more to being a jedi then he tought. Discovering a completely new culture will take time and effort, but maybe he’ll make some friends along the way. ✦ Master by CJinn, obi-wan & anakin, 27.5k   Obi-Wan Kenobi had always wanted to become a Jedi Knight. What he didn’t expect was to become a Master merely days after his own Master died. Adapting to his new role as the mentor and Master of the quite unusual Padawan Anakin Skywalker became a bumpy road. ✦ The Orchards by Raven_Knight, obi-wan & qui-gon & cast, 3.6k   When young Obi-Wan Kenobi is injured on a previous mission, Qui-Gon Jinn refuses to accept further off-planet missions until his Padawan’s recovery. Yoda assigns the pair an in-Temple mission of utmost importance while Obi-Wan heals. Master and Padawan welcome the change of pace. ✦ Starrunner by rinzukodas, obi-wan & jedi & oc, 80.2k wip   In what would have been the year 17 BBY, Supreme Chancellor Sheev Palpatine is found slumped over his desk, dead to rights and emitting a foul odor. The coroners declare the body victim to a heart attack and the smell a result of a lack of a timely embalming—a bit of bowels humor, the head coroner says with a nervous laugh when interviewed by the Galactic Enquirer. ✦ The Spire by skatzaa, obi-wan & ocs, 2.4k   The galaxy was on the brink of war, and Obi-Wan Kenobi had been assigned a new room. ✦ Room Arrangements by skatzaa, obi-wan & anakin, 2.2k   Anakin has some concerns about room arrangements at the Temple. Obi-Wan does his best to reassure him. ✦ Swimming Lessons by devilinthedetails, obi-wan & anakin, 2.1k   Obi-Wan decides Anakin must learn how to swim. ✦ The Uses of a Sandwich by Laura Kaye (laurakaye), obi-wan & qui-gon & oc & cast, 17.6k   A few months after being taken as a Padawan, Obi-Wan Kenobi faces a challenge: meeting his Master’s first apprentice. FULL DETAILS + RECS HERE!

[sparda3g]

Gintama Chapter 702 Review

I have been dreading for Gintama to return and not only I got my satisfaction, it exceeded my expectation. Although the chapter is shorter than last time, the content still packs a heavy punch to leave you feeling awed and invested. This chapter was an outstanding setup for the grand finale that I still have chills, goosebumps, and anything else that a man would feel when the hype is extraordinary. Once more, I’m dreading for Gintama to return.

It has been a while since the last chapter, though luckily for me, I still remember the setup and the events took place. I remember Takasugi reached to the top to confront Shouyo while Yorozuya is reunited and running towards where the two are at. Sadly, this chapter doesn’t begin with a gag like the last shift, but it’s all good when the series is at the intense climax. We’re in the endgame now.

The chapter begins with a really good hype build-up with yours truly, Sakamoto. That facial hair is doing wonder for his design as he come across like a really cool guy. That and the artwork is very solid throughout the chapter; clearly, Sorachi’s long break helps out the clarity. Back to Sakamoto, it’s all about the fate of the world, hence the chapter’s title. This moment raise the stake and increase the tension as it is the finale. It’s like the speech about history is written by the victor. The idea is this is the fight that will change everything; it’s the true endgame.

It is incredible that Earth stays getting attacked and always come close to world destruction. It’s practically fate by this point. Sakamoto always have a great speech in his arsenal and this is no exception. The pain and struggle always come for them, but their fate will deny the fate. It highlights all the Joui Four’s scenario respectively, a good reminder after a long break. It’s all about fighting to see the end and justify a reason they may or may not know. It’s inspiring and helps the hype level for what’s to come next.

Takasugi has been stellar throughout this arc. If he was like his old self before Shogun Assassination Arc, his ticking time bomb to death wouldn’t worry me. Now, I am anxious to know what his destination is. Needless to say, I’m deeply worry for the guy. With all that said, his confrontation with Shouyo is heartwarming; showcasing his great development. I’m really glad that he finally got to meet him alone. I wanted him to share his side of thoughts about his sensei, his comrades, and his own feelings.

As rough state Takasugi is in, he still smiles at the sight of his master. It’s not Utsuro, but Shouyo to his eye. He truly wants to go back home; back to the way things were. This was touching; I feel sorry for Takasugi. You can feel his words and expression how much he wanted to see him. The students may have split apart before, but now, they are returning back home. It’s a touching metaphor to say, “Family will always be family.”

The best part of the speech is when he contrast his life to Gintoki’s. In the midst of his speech, Otae was close to get crushed by blocks, but Yorozuya shows up in time to save her. Gintoki broke his staff and got hit by a block. It should be funny, but this quickly plays off as a moment to recover the best sword of them all. He is the man that moved ahead to the future and Takasugi’s role is his companion. The metaphor and the narration makes the moment emotional; I could draw tears. I can’t do it justice here, but the narrative flow is so good. Takasugi passing out got me praying; that’s how much I cared. He did recover, but then the scene segue to one of the most unexpected emotional scene this series gives so far, and that’s saying it a lot.

Out of all people to give us an emotional speech, it’s Utsuro/Shouyo himself. In fact, this is the best part of the chapter aside from the ending. Although he appears as Shouyo, it is best to be reminded that he’s the embodiment of all characters of himself within a body. In other words, he’s everyone; Utsuro, Shouyo, whoever. The idea is he acknowledge what and who he is, and nothing will change the fact he has long live to experience many life decisions. Even when he did die before, the memory remains, including Edo defeating him in the war. Honestly, this series presented very well how awful immortality can really be. He finally found the moment to die for good and this is for the best.

Shouyo’s speech doesn’t end there, but the scene does shift to Katsura and Hitsugi to connect the narrative of the end of Shouyo. There are few interesting notes here. Shouyo’s speech ties in to the moment where his heart was destroyed, because it truly is the end of him. Even if he were to gain a crystal, a replacement so to say, it’s only temporary. Basically, he’s human, and anyone with his blood will die along with him eventually. Technically, this is a plot twist and a damn good one. I’ll say it again, “We’re in the endgame now.”

What really captures my interest is Hitsugi as a character. I am stunned how Sorachi managed to make a mute guy and a third henchman into a sympathetic character and I like it. It’s another plot twist when you think about it. For a while, fans thought he’s favoring Utsuro to revive and restart the chaos once again. It turns out he is favoring him, but to put an end to his life; just as current Shouyo’s wish. It amazes me how any of his disciple truly loves him and knows what’s right. Clearly, he is the most beloved master.

I don’t know if this twist means other moments are red herring, but it’s more like us looking at the wrong direction. I thought he was a slave to Tendoshu, when in reality, he knows what needs to be done and reviving Utsuro isn’t it. What struck me the most is how he was able to understand the hardship and misery of Utsuro as immortal being. Even for a short while compare to Utsuro’s lifespan, it is a nightmare, so he wants to grant him death. What’s up with good writing making me feel sympathy for a character who is either evil or short-lived? I like how he wished the best for everyone associated with Utsuro a closure they deserved. Sleep well.

The best portion of the speech is here. After you take it all in with Shouyo’s wish and how the effect come in play, we learn how he truly feels about everything. It’s pretty emotional. His final move is to collide with Altana and cancel out the destruction to save Edo. It’s his only way to save a life and yet, he cannot save the loved ones that are his disciples. I don’t recall if I said this before and it doesn’t need to be said, but I’ll say it now: Shouyo is a tragic character.

He has been a great character, villain or not. Usually, a character can be good in one criteria, like a good person, but a crappy villain, or vice versa. Shouyo can work well for multiple roles. This is why he is well liked in the community. Because of good writing and sheer investment of these characters, I can sympathize his misery of not able to do well as immortal; can’t save not one disciple. Even offering a life with his blood, it only brought tragedy. When he cries, shoot, I begin to cry. He didn’t deserve this. He can make a great protagonist in a tragic series; I can’t say that’s a compliment. It’s sad as hell. Life truly sucks, and yet, he cannot die.

The chapter is covered with plot twists, so it might as well have one more and it’s the most shocking one. Imagine the mood you’re in after reading heartbreaking words from each characters; you’re overwhelmed with emotions. Then, the twist to top them all happens with a sheer suspense. A page left me wondering until blood is spill. Takasugi stabs Shouyo and it is gut-wrenching to fathom it. The twist is Takasugi is gone (for now at least) and Utsuro has taken over the body. Wow…

I didn’t see this coming. In fact, the way I saw it before this chapter was Utsuro is back in his own body and going to fight Takasugi before Gintoki arrives. Never would I guess Takasugi lose his conscious to Utsuro, but it makes a lot of sense. That’s why we needed to see Tendoshu as fallen victims to Utsuro. It all lined up well for this twist to happen. That said, it’s painful for Takasugi to be the man to kill his beloved master, before his very eye. Someone in the reddit pointed this out and it’s sadly true: both eyes witness the tragic fate with tears and death. Hasn’t he suffered enough? Bottom line, Utsuro is the final boss and it all comes down to the final scene.

I absolutely love the atmosphere of the aftermath of Altana destruction. Utsuro delivered bone-chilling words about Shouyo once again dies without saving anything. That’s just dark. After his line, the rest of the chapter goes silent and the visual storytelling kicks into high gear. What I love about this is how it is setting up for the final stage for the final battle. Gintoki is out of the rubble, resuming his chase for Shouyo. He arrives to the place, only to see his master dead. That’s awfully sad that he couldn’t fulfill the one path to see it through, and ironically, it’s because of Takasugi. The image of seeing your close friend being the murderer is morbid and disheartening. It’s even worse when Takasugi sadistically smile one more time before Utsuro completely takes over. Gintoki can’t catch a break at all.

The sad part is he has to kill the two of his loved one for a price of one. This series is cold when it truly needs to be. As sad it is, I can’t contain my excitement. The last shot with Gintoki and Utsuro standing got me floored with amazing amount of hype. Two men with a mission, the sun in the background, everything that has built up to this point. That shot is pure hype. It’s the final destination level of the final boss. This is Metal Gear Solid 4 final fight level of greatness. This is whatever you think it’s the best final stage tier. This is the endgame.

The whole arc has been stellar because it is more grounded, personal, and emotional. Have it end with a War Arc, it would have been pretty good, but not enough for total satisfaction. Granted, it was a solid War Arc, best in Shounen category, and opinions will vary, but a condensed concentration on few characters rather than everyone is much easier to digest, and the pacing flows more naturally. This is why the ending is shaping up to be incredible. Even if it is taking forever due to multiple trolls, fans will get the satisfaction they deserved, let alone Sorachi himself.

Bottom line, this chapter was outstanding for its incredible emotional roller coaster from various characters, excellent buildup for the final battle, and plenty of great panel shots with deep intensity and excitement. I can’t do justice on its atmospheric trip, especially the last couple of pages, but I had chills. The next chapter is hype of the hype. I have to think which soundtrack to use for the final battle. This is it. There’s no other way. Gintoki versus Utsuro as Takasugi. It all ends here.

[ethenell]

Best Films of 2017, Part II

5. Blade Runner 2049 (dir. Denis Villeneuve)

“Mere data makes a man … A and C and T and G … The alphabet of you, all from four symbols.”

Making a satisfactory sequel to a widely beloved masterpiece like Blade Runner is a borderline impossible task – the weight of expectation is oftentimes simply too great. In keeping with that wisdom, Blade Runner 2049 is not at all a satisfactory sequel - Luckily for fans of the groundbreaking original, it is much, much more than that. A daringly-conceived blockbuster epic that flies in the face of today’s rapid fire genre filmmaking rulebook, 2049 is the kind of bold, visionary sequel that Blade Runner has always deserved, but most of us lacked the optimism to hope for.

With a gargantuan runtime and an average shot length dwarfing that of the average blockbuster, it’s hard to understate the sheer ambition of what director Denis Villenueve has brought to the screens with 2049. But the true miracle is that the magnitude of 2049’s ambition is matched by its achievement every step of the way, thanks in no small part to the partnership of Villeneuve and cinematographer Roger Deakins, whose Oscar-winning work (!!) on 2049 deserves consideration alongside the best of his unparalleled career. Their collaboration is central to the hypnotic mood and texture of the film – a significant departure from that of Ridley Scott’s 1982 film. It would have been easy for Villeneuve and Deakins to replicate the look and feel of the original – many have done it over the years, with varying degrees of success. But rather than do what was easy, they took the original’s oft-imitated cyberpunk world and filtered it through their own creative lens – coming out on the other side with some of the most indelible imagery the year in cinema had to offer. That the film also treads novel thematic territory in the well-worn debate on the existential border between man and machine, cements 2049’s status as one of the all-time great film sequels. 

In keeping with the film’s heavy Tarkovsky influences, Villenueve focuses more on finding the right way to ask the hard questions than on constructing tricky ways to answer the easy ones. But Tarkovsky, as brilliant as he was, never made a film that looked anything like this. It’s with this delicate marriage of grand imagery and even grander ideology that Villinueve has defied the odds and done what most thought was impossible … He’s made a brilliant follow-up to an undisputed masterpiece.

In doing so, he just might have made one of his own.

4. Lady Bird (dir. Greta Gerwig)

- Lady Bird. Is that your given name?

- Yeah.

- Why is it in quotes?

- I gave it to myself. It’s given to me, by me.

All too often, authenticity in filmmaking is synonymous with directorial transparency - passive camera and observational direction have become the du jour techniques to achieve a realist aesthetic. But there is a special authenticity to crafting a film that fully and authentically inhabits a specific point of view. Greta Gerwig’s splendid semi-autobiographical debut Lady Bird is just such a special film. Far from being passive and observational, Gerwig’s distinctive voice as an actress transitions beautifully behind the camera as she bottles up all the emotional tumult of high school and unleashes it through a powerhouse performance from one of cinema’s best young actresses.

Though a realistic Oscar push never quite developed, Soairse Ronan has now delivered two performances more than worthy of the honor - at 23, she is already far overdue for greater recognition. As Christine “Lady Bird” McPherson, she works in perfect harmony with Gerwig to deliver big-time laughs and well-earned tears while casting even the most tired coming-of-age tropes in a fresh new light. And, while it’s not clear whether it’s even possible to steal the show from a performer of Ronan’s caliber, leave it to the reliable character actress Laurie Metcalf to give it her best shot. Her big-hearted but overly-critical mother is career-best work that often serves as the film’s emotional backbone. She’s the perfect foil to Ronan’s bursting-at-the-seams teenage rebel, and their fraught relationship is the crux of Gerwig’s film.

The best thing that can be said about Lady Bird – and there are more than a few great things to say – is that it simply rings true. It’s earnest portrayal of a young girl clashing against the boundaries of her world, and herself captures something deeply true about the contradictions of young adulthood. Despite it’s modest packaging, Lady Bird is a genuinely moving and supremely confident debut, bursting with creative ambition and boasting immaculately-realized characters expressing ideas that resonate with audiences beyond the film’s pointedly narrow scope. If that’s not the sign of a brilliant filmmaker, then I don’t know what is.

 3. Call Me By Your Name (dir. Luca Guadagnino)

“Nature has cunning ways of finding our weakest spot.“

On the heels of Moonlight’s stunning Best Picture win, few would have expected another masterpiece of LGBTQ cinema to emerge so quickly. But the consensus best film from the Sundance Film Festival’s 2017 iteration was just such an effort. Luca Guadagnino’s entry to the festival was immediately pegged as one of its more buzzed-about titles. His previous two films, 2009’s I Am Love and 2015’s A Bigger Splash - both featuring characteristically excellent performances from Tilda Swinton, with the latter boasting a very uncharacteristically off-the-walls and thoroughly underappreciated turn from Ralph Fiennes - established Guadanigno as a premiere actor’s director. But Call Me By Your Name showcased a newly-subdued directorial style, giving his impressive cast of players even more room to shine.

On this note, it’s hard not to point to Guadignino’s pairing with 2017 breakout Timothee Chalamet as a gift of fate. Working with Guadanigno, Chalamet is revelatory. He delivers a performance with nuance and complexity far beyond his years. As the film follows Chalemet’s Elio finding first love, he projects confidence only to be betrayed by moments of utter vulnerability, hitting those extremes – and every note in between – with absolute perfection. In this year’s Best Actor category, Gary Oldman had the perfect industry narrative, but Chalamet gave the most deserving performance – no one will ever convince me otherwise. Surrounding Chalamet’s masterful work is a stellar ensemble, of which Michael Stuhlbarg is the clear standout. In hands-down the best moment in the year of film, Stuhlbarg delivers a monologue for the ages with his voice hardly rising above a whisper. His is an absolutely brilliant performance that, like most of his unerringly impressive character work, has been criminally ignored.

Call Me By Your Name is destined to join the ranks of the all-time great LGBT romances, but it’s thematic reach and the appeal of its characters are universal. It’s a masterpiece of storytelling that perfectly captures hesitant intimacy blossoming into the kind of love that burns bright and leaves marks that last a lifetime. Guadagnino guides us gracefully through the tender connection at the film’s center without sacrificing the complexity of Elio and Oliver’s emotional journeys. These moments of self-discovery – and discovery of a part of yourself in another – are never straightforward endeavors, but Guadagnino’s warm camera conjures the melancholic beauty in every intricate detail as though he’s recalling a fond memory. Times like these call for films as tender, earnest, and full-hearted as Call Me By Your Name. It’s unmissable.

2. Dunkirk (dir. Christopher Nolan)

“You can practically see it from here ...

What?

... Home.”

Leave it to Christopher Nolan, who already revolutionized the superhero movie, to produce a war film unlike any I’ve ever seen. Like Saving Private Ryan before it, Dunkirk throws out the playbook and finds great power outside the bounds of convention. An absolute masterclass in structure and formal editing – in many ways more ambitious even than the groundbreaking structure of Nolan’s grandiose mindbender, Inception – Dunkirk juggles three different storylines, all of which occur over different timeframes, until they all converge in a breathlessly tense climactic sequence. Weaving these threads effectively is a gargantuan task, but Nolan proves himself more than up to the challenge.

From a directorial perspective, Dunkirk is not far removed from Nolan’s previous efforts. His precise technical command and vision for spectacular set-pieces is nearly unmatched in modern studio filmmaking – but this isn’t news for anyone who’s familiar with his previous work. Where Dunkirk improves dramatically over Nolan’s previous efforts – particularly his more uneven films, like Interstellar and The Prestige – is on the page.

One of the biggest knocks against Nolan as a filmmaker has always been his over-reliance on expository dialogue. (Honestly, how many different perfunctory monologues did it take for him to explain Inception’s dream-within-a-dream structure? Or wormhole travel in Interstellar?) So how did he respond when writing Dunkirk? With a ruthless editorial pen, he chipped away at each bit of dialogue until all that remained were the truly essential elements. The result is the most sparse film of Nolan’s career – it also happens to be the best.

Even with the lack of dialogue Nolan’s cast is given to deliver – or perhaps precisely because of it – Dunkirk is filled with memorable ensemble performances. Cillian Murphy’s shellshocked sailor, Tom Hardy’s steely, resilient pilot, Mark Rylance’s calmly resolved civilian, and yes, even Harry Styles’ fearfully cruel foot soldier, all leave a lasting impression despite limited screen time. It’s a testament to the efficacy to the show-don’t-tell philosophy when embraced by a director as immensely talented as Nolan.

Filling in the gaps is composer extraordinaire Hans Zimmer’s droning score, which might very well be the best, most thematically effective work of his career. Propelling and underlying the cacophonous atmospherics is the simple tick of a clock – so ubiquitously present that you only notice it when it suddenly drops away. It’s a simple gambit that makes for one of the most thrilling moments of the cinematic year. Without Zimmer’s score, it never would have materialized. His work elevates the film – there’s no greater compliment that a composer can be given.

Like The Dark Knight before it, Christopher Nolan has also crafted Dunkirk to be uniquely resonant in the present geopolitical landscape. It’s a morally resolute film, firm in its assertion that certain battles are worth fighting and unambiguously optimistic about the willingness capacity of good people to do so, no matter the cost. It’s an empowering message, harkening back to a day when Western civilization was left with no choice but to do away with equivocations and rise up to face an unambiguously evil force at work in the world. As we see hints and shadows of that same fascistic ideology re-emerging in our present politics, Dunkirk reminds us that we are capable of defeating it, but only at a terrible cost.

1.��Phantom Thread (dir. Paul Thomas Anderson)

“Kiss me my girl, before I’m sick.”

With each subsequent entry to his already-legendary filmography, Paul Thomas Anderson further stakes his claim as American cinema’s greatest living auteur. His latest, Phantom Thread marks a particularly fascinating step along his journey to filmmaking greatness. As with all of Anderson’s films, there’s more to Phantom Thread than initially meets the eye. What initially appears to be a peculiar period romance slowly reveals itself to be a devilishly subversive take on power dynamics and love. The film’s austerity and elegance belie it’s prickly subtext, but (of course) it is this exact contradiction that makes Phantom Thread so damn interesting ... There’s not a film this year that has more frequently occupied my thoughts.

In what is reportedly his final role, Danial Day-Lewis is as impressive as ever, doing away with the towering theatrics of his best-known performances (there’s hardly a hint of Daniel Plainview or Bill the Butcher, here) in favor of the meticulous character work that initially brought him to critical esteem. In his hands, Woodcock’s cartoonish mannerisms feel thoroughly organic with nary a false beat to be found, while bringing Anderson’s words to life with extraordinary skill. Lines that could feel like throwaways to another actor take on legendary status as delivered by Day-Lewis. If it is indeed the final time that he will be gracing our screens, then he’s picked a finale befitting his storied career.

As if taking cues from his star and uncredited co-writer, P.T. Anderson directs his latest masterpiece with an uncharacteristically gentle hand. Thrown to the wayside is the visionary flash and technically prodigious camerawork that defined his earlier greats. Instead, Anderson hones in on his unmatched sense for interweaving character and theme and lets his actors the heavy lifting in largely still frames. Unsurprisingly, the results are brilliant, the product of an assured and confident master working at the very height of his powers while refusing to lean on his past successes.

But while the continued collaboration of Anderson and Daniel Day-Lewis sits at the center of any assessment of Phantom Thread, it’s greatness is often solidified by the masterful contributions outside of this titanic duo. Another frequent PTA collaborator, Radiohead guitarist Jonny Greenwood, turns in his best work since his groundbreaking score for There Will Be Blood. His lush piano work and elegant strings match the film’s beats to perfection, rooting out its subtleties and amplifying them beautifully. And Day-Lewis’ co-star, the previously unknown Hungarian actress Vicky Krieps, may well be the most exciting discovery of the year. Acting alongside Daniel Day-Lewis must seem a daunting task to even the most experienced of thespians, but Krieps fearlessly matches him step for step.

Phantom Thread, though it’s the director’s most austere film to date, is a P.T. Anderson film, through and through. By that I mean that it’s deeply strange and continually surprising, but ultimately narrows its gaze on something uncomfortably and fundamentally true about our common human condition. It’s gorgeously made and subtly provocative cinema from a virtuoso filmmaker … What more could you ask for?

[elizas-writing]

Anime Movie April, Day 27: The Boy and the Beast

Whoo! So Perfect Blue stressed me the hell out more than I liked. Time for something happy and colorful! And there’s no better way to do that than Mamoru Hosoda’s most recent film, The Boy and the Beast. I think of this film as if they mixed Spirited Away with The Karate Kid; a ton of whimsical supernatural imagery, coming-of-age, and fun training/action scenes. Being a Hosoda-directed film, it once again knocks it out of the park.

A nine-year-old boy named Ren recently ran away from home after his mother passed away, refusing to live with his new guardians and wondering where his father is. While on the streets of Shibuya, Ren accidentally winds up in the beast kingdom where anthropomorphic animals live. He comes across one of them, a warrior named Kumatetsu, who’s training to compete for the title of Grandmaster to rule over the beasts. However, Kumatetsu doesn’t get along well with others and can’t even hold down a disciple to tolerate his hot-headedness. Yet these two equally stubborn individuals find each other, and Kumatetsu takes Ren in as his disciple and renames him Kyuuta. As the years pass, the two grow to enjoy each other’s company (even if they will never admit it), but as the day of Kumatetsu’s match comes closer, Kyuuta becomes conflicted if he belongs in the human world or the beast world and an unexpected threat is looming over everyone’s heads.

The animation is just stellar. All the beasts have distinct designs, the backgrounds almost look hyper-realistic, it’s incredibly colorful, and the fight scenes are perfectly paced and show off distinct styles between characters. Hosoda is brilliant in his craft, and it shows in both his art and storytelling.

Kyuuta and Kumatetsu make the heart of this film. Despite their obvious differences, they’re more alike than they want to admit. Even though they mostly bicker and argue, there is an odd sense of love where they balance each other out as they learn responsibility in different ways. It’s a master-student dynamic which evolves into a parent-child relationship which gets really complicated as Kyuuta grows up and starts to figure out his identity in going back and forth between the human and beast world. It works in a lot of struggles foster kids go through in growing up in unconventional environments and figuring out who they are and what they should do as they become adults, and it’s done well as Kyuuta meets up with a girl who teaches him how to read and tries to figure out how he can get into a university.

While the film moves a little slowly, this is just a pleasant world to be sucked into. I like seeing Kyuuta and Kumatetsu figure out a training regimen which works for the both of them. I enjoy all the different beasts Kyuuta encounters who show him what strength is and grows a sense of community among those who initially were wary of his presence. I like his interactions in the human world and how foreign everything now feels, and he has so much he needs to catch up on, but he doesn’t know for sure what he wants. The overall plot isn’t much of the focus as it is Kyuuta’s life in finding community out of loneliness and warming up the heart of someone as stubborn as Kumatetsu. For a film mostly running on atmosphere, it’s done as well as something like Spirited Away.

If I did have to nitpick a problem is that a lot of side plots introduced don’t feel completely resolved in the end. They still work in the narrative and the twists are well done, but it almost feels like some parts weren’t complete. It doesn’t damage the overall film, but I felt like it needed a stronger impact by tying up all the loose ends. But even with that, it’s still a solid film, and one of Hosoda’s best.

It’s a funny, imaginative, action-packed, and heartwarming family film I highly recommend for anyone at any age. Get it on your watch list and check it out yourself.

[misterclandestine]

My Favorite Stuff from 2017

It’s been a tough one, but there was a lot of awesome stuff that made it easier. Here are some of my favorites in no particular order.

DAMN by Kendrick Lamar, Album - The World felt different once this was in it. Kenny’s 4th release proved he’s just as thoughtful, agile, and hungry as ever.

everyone’s a aliebn when ur a aliebn too by Johnny Sun, Book - You can go through this hybrid graphic novel/picture-book in one sitting, but there’s so much to chew on here that I recommend taking time with this story, which follows Jomny, a misspelling aliebn sent to earth to study human behavior. The brief, direct interactions simply, & hilariously reveal everything beautiful and tragic about what it is to be alive.  

Abstract: The Art of Design, Series - This Netflix series drops you into the lives of 6 masterful creators moving through subcultures of artistry (i.e Footwear Design, Illustration, Stage Design). Each revealing their varying methods, ideas, and joys about creativity. The standout episode follows Christoph Niemann, an illustrator for the New Yorker, and his blue-collar approach to his work.

Game of Thrones: The Spoils of War, TV Series - Though this season was rushed, clumsy and arguably unrecognizable from the compelling and prestigious drama that has unprecedentedly impacted our culture, you won’t find a more gripping hour of television. You know a show is wilding out when you don’t know who the hell to even root for anymore (Get em, Drogo! Wait, not Bronn! Wait, not the incestuous child killer!)

Insecure: Season 2, TV Series - The show you didn’t know you needed. Issa Rae’s hilarious dramedy paints a picture of what it’s like to be young, ambitious, unapologetic, lonely, intelligent, sexy, successful, and losing.

Last Week Tonight with John Oliver: Season 4, TV Series - Oliver’s weekly recap simultaneously manages to be enlightening, funny, depressing, and hopeful. His takedown of Alex Jones was one of the most satisfying things I consumed all year.

Do Not Disturb by Drake, Song - the final track of More Life, a surprise ‘mixtape’, samples ‘Time’ by Snoh Alegra, and is one of his most personal songs to date. Without a chorus, he raps for 3 minutes about not needing romance, fear of irrelevancy, and the quickening passage of time. Gracefully shifting between insecurity and arrogance with dizzying fervor, Aubrey continues to capture the emotional woes of an entire generation.

Get Out, Film - Jordan Peele’s directorial film debut is the rare instant classic, and it’s not because it has one of the most crowd-pleasing endings of all time. The satirical, social commentary cloaked in the guise of a horror comedy, refuses definition, and peels back layers of race, and class previously untouched in cinema.

Melodrama by Lorde, Album - With a kajillion pounds of pressure on her shoulders to follow up one of the best pop debuts of all time, Ella delivers. She croons on top of Jack Antonoff’s unruly production about heartbreak, fame, and the feeble impact of acclaim. As one Twitterer put it “I gain an extra chromosome when the beat drops in ‘Sober II’.

mother!, Film - I can’t say I enjoyed this movie because it was the second most excruciating sit I had at the theater all year (kudos to Justice League), but it left me SHOOK. It’s clearly allegorical, but what makes it masterful is that the way you take this movie in is colored almost entirely by your own personal experiences.

Master of None: Season 2, TV Series - A perfect double-feature to Insecure (give me a shared universe where Dev and Issa are a power couple). Ansari’s relentlessly entertaining series accomplishes what every second season strives for. It tops the first, while redefining and expanding itself. The show is tirelessly committed to the experiences of ‘others’ (a deaf person, a lesbian, a non-believing muslim, service workers in NYC etc.) It’ll leave you crying, laughing, and hungry.

Split, Film - When we’re lucky, films hit ya with “SURPRISE, muthafucka” moments that Jesus himself would not see coming. Shyamalan’s second hit in a row (after a run of all time duds) ends with one 17 years in the making. The iconic villain terrifyingly played with razor-sharp swiftness by the world-class James McAvoy is the icing on the cake.

Isaiah Thomas, Athlete - If not for Russell Westbrook’s record breaking response to Kevin Durant’s betrayal, the “King in the Fourth” takes home the MVP. Watching him play through tears the day after his sister died in a car accident will stay with me forever. His 53 point performance on her birthday a few weeks later starkly reminded me of the unifying, powerful spirit of sport.

Moonlight’s Best Picture Win - I’ll begin by saying that I really liked La La Land. A month after we swore in Don, we got it wrong again… psych! I’ll never forget the roller coaster of emotion that came over me in this moment. Barry Jenkin’s tale told through 3 untraditional acts (titled ‘Little’, ‘Chiron’ & ‘Black’) was gorgeously shot, flawlessly acted, and supremely helmed. It arrived at a time we needed it most and Mahershala Ali FINALLY got his shine.

Coco, Film - We got one shot this year, and we NAILED it. This breathtaking portrait of Mexican culture demands to be seen on the big screen and illuminates the importance of dreams, family, and tradition. No manches!

‘No Man’s Land’ scene in Wonder Woman - There were two times in the theater this year that I felt that sinking drop of a roller coaster in my belly, this was one of them. Gal Gadot and Patty Jenkins must be emboldened and protected at all cost.

Woody Harrelson, Actor - The rare movie-star actor quietly had a phenomenal year, further etching the grooves of his name into Hollywood lore. His turns in The Glass Castle, The War for the Planet of the Apes, and Three Billboards in Ebbing Missouri prove he’s STILL at the top of his game. I’m shocked that his heartbreaking portrayal of a drifting, alcoholic yet whimsical and passionate father in The Glass Castle hasn’t gotten more attention.

S - Town, Podcast - The colder you go into this one, the better. All I’ll say is that you’ll step away from this one feeling some type of way about people, the feeble sustainability of the planet, and clocks.

The World Series, Sports - The. Best. Ever. After being devastated by Hurricane Harvey, the Astros grant Houstonians some restoration via their first World Series Championship in a thrilling 7-game series that was literally witnessed by the World.

The Keepers, Documentary Series- This 7 episode series documenting the varying controversies surrounding the Catholic Church left me epiphanized about what it means to remove the seemingly impenetrable powers of institutions. Targeting one single individual, or a group of individuals or an organization won’t get it done. We must take down the viral ideas themselves.

Bladerunner 2049, Film - Aside from being wondrously constructed technically (you won’t see better production design or cinematography - give Deakins his Oscar now dammit), this story about a robot serves up a surprising amount of soul. Denis Villeneuve, solidifying his auteur status, delivers a nostalgic yet entirely unique follow up to the beloved sci fi classic.

‘Throne Room’ scene in The Last Jedi - This was the other time I felt like I was falling in the theater. Despite considerable problems, Rian Johnson showed us stuff we’ve never seen before in the SW universe. It’s the showdown you dream about as a kid.

The Big Sick, film - Kumail Nanjiani’s autobiographical story of how he met his lover is sorta the woke edition of Meet The Parents. Like Dev on MON, Kumail struggles to blaze trails while upholding loyalty to family and falls in love for a white girl along the way. Ray Romano and Holly Hunter turn in a pair of the year’s best performances.

Big Little Lies, Mini Series - I resisted the marketing for this one initially: dissatisfied, rich folk in Monterey. But the re-teaming of Jean-Marc Vallée (Wild, Dallas Buyers Club, Demolition) & Reese Witherspoon seemed promising. Momentum grew with each weekly installment (I overheard people theorizing whodoneit in restaurants), which is refreshing in the Netflix age. The leads are all stellar (believe the hype about Kidman) and Zoe Kravitz proves she should be working more.

Creature Comfort by Arcade Fire, Song - A painful examination of youth that’s equally heartbreaking and melodic.

Homecoming Season 2 - The fictional podcast about the remnants of a government coverup of a failed rehabilitation program for distressed veterans makes some questionable narrative choices in it’s second season and Oscar Isaac is absent throughout most of it (likely due to a loaded schedule). He does “appear” at the end of the second episode ‘CIPHER’, in a brilliant usage of audio storytelling, and it left me in puddles.

Mindhunter, TV Series - We all know Fincher is a technical maestro, but I don’t think he gets enough credit for being a complete storyteller, which he clearly is. The 13-episode made-to-binge Netflix series based off the book by the same name follows Holden Ford, an idealistic FBI profiler, and Bill Tench, played by Holt McCallany subverting every macho character role he’s ever taken on as a highly intelligent, hardened fed, as they attempt to break ground on our understandings of serial murderers. All of Fincher’s trademarks are there with sprinkled elements of Seven, & Zodiac.

Tyler the Creator’s Tiny Desk Concert, Podcast - I enjoyed ‘Flower Boy’, but didn’t find myself returning to it. That all changed after this. In a year of fantastic TDCs (i.e: Thundercat, Chance the Rapper) Tyler’s stands out. With help from a pair of stellar background singers, his array of talents are on full display, namely: composing and orchestrating melody and harmony.

Colin Kaepernick, Athlete - it’s not about the flag or the military don’t @ me.

20th Century Women, Film - Released wide in January, it remains one of the year’s best. Set gorgeously in 1970′s Santa Barbara, Mike Mills’ deeply personal tribute to motherhood, women, & outcasts overflows with heart.

Kamala Harris, (D) CA Senator - She is so bad, can we get started on the 2020 bumper stickers now?

What Now by Sylvan Esso, Album - ‘Hey Mami’ from their 2014 debut popped up on my Pandora one day and I was IN. Amelia Meath’s angelic vocals layered over Nick Sanborn’s unpredictable production is sublime. The “Echo Mountain Sessions” include dope af live recordings of the album’s standout tracks.

Logan, Film - The Wolverine movie we deserve also features a star-making performance from Dafne Keen and an unrecognizable Professor X. With a decade between the last time he inhabited his iconic portrayal of Charles Xavier, Sir Patrick Stewart strides (wheels?) back into the role with award worthy tact.

Fargo Season 3, TV Series - The best season yet and that’s really saying something. David Thewlis is haunting as Varga, the creepiest, most frightening villain in the series’ history and a collection of top-tier thespians rounds out the rest of the cast. There’s also a moment in one of the later episodes similar to the ending of ‘Split’ that’s a real delight.  

Mr. Robot Season 3, TV Series - Showrunner Sam Esmail moves us through this complex dystopia, which has begun to bear resemblance to our reality lately, with complete CTRL. We see Mr. Robot AND Bobby Canavale like never before. That oner episode is pretty cool too, but it’s not even the season’s best.

Other Notables: Patton Oswalt: Annihilation, Girls Trip, The Leftovers Season 3, Glow, Twin Peaks: The Return, Ingrid Goes West, BEAUTIFUL THUGGER GIRLS by Young Thug, Add Violence by NIN, Good Time, Stranger Things: Season 2, Legion, Dunkirk, Crashing, NO ONE EVER REALLY DIES by N.E.R.D, 4:44 by Jay-Z, Dirty John, Wind River, Dear White People

FYI: I still haven’t seen/listened to a lot of stuff, namely all the big award contending films.

[fortheheavenssake]

https://www.ancient-origins.net/unexplained-phenomena/ancient-civilizations-and-sixties-0011459

Ancient Civilizations and the Sixties: The Obsession with Ancient Astronauts

Tobias Churton

Amid numerous secular apocalypses of the Sixties, we cannot ignore the remarkable impact of Erich von Däniken’s book Chariots of the Gods? (the question-mark is, note, frequently omitted). Published in 1968, Chariots of the Gods? explored the idea that alien beings visited Earth in the distant past and stimulated ancient civilizations with knowledge of interstellar travel and technical feats now familiar to viewers of the Sixties Space Race and Star Trek . While von Däniken took enormous liberties with “factual fiction” to produce a compelling bestseller, the book’s interest for us lies in how its extremely colorful story was interpreted.

Chariots of the Gods

Everything we have been discussing about the Sixties had fertilized the imaginative soil into which the “chariots of the gods” idea was cast. Not content with relating heavenly symbols in Akkadian tablets discovered in Mesopotamia to pre-Columbian inscriptions of deities in contexts which—with the benefit of imaginations primed for the purpose—could be interpreted as resembling “spacecraft”, the author reinterpreted biblical stories on analogous lines, initiating a trend that continues to this day. For example, von Däniken took the description of prophet Elijah assumed to heaven in a “fiery chariot” with horses in a whirlwind (II Kings 2:3-9) as the way a ninth century BC individual would describe a flying saucer, or the like, descending to earth and taking—even abducting—a human being out of this world. And here is the nub of our point. Elijah was widely believed in Jesus’s time to be the herald whose coming to earth would signal the “Day of the Lord” (Yom Jahveh) and the last judgment. So—taking the alien scenario as a framework—if a heavenly figure returnedby alien spacecraft, then the Bible’s apocalyptic scheme could be interpreted as an eventual parousia of superior technology from outer space, constituting the New Age. Spiritual ideas were trans-placed by, and confused with, scientific technology. Very soon after von Däniken’s book appeared, earnest advocates, or “channellers”, for the “mission” of alleged “spacepeople” asserted they were coming to wrap up the mystery of human existence when, it was argued, our own technology had reached a stage when confrontation with “theirs” would not precipitate our wilting into aphasic terror and helpless awe.

Sample of an Akkadian tablet discovered in Mesopotamia. (Rama / CC BY-SA 2.0 )

Meanwhile, Kubrick’s astonishing 1968 movie 2001 A Space Odyssey suggested that even going to the Moon risked encounter with alien intelligence. The film’s climax turned psychedelic tripping through special-effects (colored lights) into a quasi-spiritual transformative experience, delighting audiences pre-oriented by chemical stimulants. 2001 directly attributed evolution of ancient civilization to alien contact . What is even more striking is how this whole quasi-religious scheme plugged in to popular ideas about U.F.O’s relating to fear of nuclear catastrophe: seeds powerfully planted in Robert Wise’s 1951 film The Day the Earth Stood Still . Thus, the Sixties “Peace Movement” acquired spiritual, apocalyptic dimensions. All that was required now was a celestial visitation and sanction. “Evidence” for such celestial interest could be sought in the mysterious archaeology of ancient civilizations, while “psychics” provided extraterrestrial messages of tedious consistency: peace and love; share and share alike; beware of the military-industrial complex! Repent ye, for the kingdom of God (or alien technology) is at hand.” You could have gotten the same messages from Top of the Pops.

2001 A Space Odyssey. (Bill Lile / CC BY-SA 2.0 )

Alien Role in Human Civilization

The issue of alleged alien role in human civilization was compounded by a prevalent suspicion that the Earth’s destiny was being secretly directed by supposed “hidden masters”, in the U.S. generally identified with secret government (the creepy 1967 US TV drama series The Invaders actually posited the secret takeover of government agencies by aliens indistinguishable from human authorities—aka communists—how’s that for calculated paranoia!). suspicion that government actually knew about aliens, but wasn’t telling us, fed directly into popular Belgian children’s visual storyteller Hergé’s next project, his penultimate “Tintin” adventure, Flight 714 ( Vol 714 pour Sydney in the original French).

I well recall, aged eight, seizing on a fresh copy of this book in late 1968 from the shelves of the rather magical Victorian “Athenaeaum” private library in Melbourne, Australia, which my family used to visit on Friday nights, unaware that a launch party for the book in Paris in May of that year was prevented by the epoch-marking events of Parisian students taking to the streets in the name of revolution and anti-Gaullism.

Hergé’s story has Tintin diverted by criminals to an island south of Indonesia where he accidentally uncovers underground primitive temples whose enormous stone figures strongly resemble astronauts. Tintin starts receiving telepathic messages that draw him further into the labyrinth. Eventually he encounters a secret scientist, “Mik Kanrockitoff,” apparently a freelance U.F.O. scientist-enthusiast from the magazine Space Week, who is in mental communication with aliens and who explains how the ancient people of the island worshipped extraterrestrials as gods.

Ancient astronauts proponents suggest that aliens came to Earth long ago, citing artifacts such as this ancient Mesopotamian cylinder seal. (Dyolf77 / Public Domain )

At the adventure’s climax, Tintin and friends are lifted from the exploding island by a flying saucer summoned by Kanrockitoff telepathically. The catch is that everybody but Kanrockitoff is mesmerized into forgetting the experience entirely, thus leaving the question open in (chiefly young) readers’ minds. It was all very effective, and one might have thought Erich von Däniken might have had a copyright issue with Hergé’s team in Belgium. Hergé’s biggest influence, however, seems to have been Robert Charroux’s “The Book of Betrayed Secrets” ( Le Livre des Secrets Trahis, Laffont, 1965) whose account of ancient astronauts identified with the “Watcher” angels who descended to earth to mate with human women in the apocalyptic Book of Enoch influenced von Däniken to such an extent that Charroux’s publisher suggested plagiarism to von Däniken’s in March 1968 (Charroux’s name would appear in the bibliography of subsequent editions).

Interestingly, Charroux’s background was in science-fiction writing (from the 1940s onward) and the inspiration for his ancient astronaut comes from authentic apocalyptic sources ( The Book of Enoch ’s extrapolation of the account of “Nephilim” in Genesis 6:1–4) combined with burgeoning scientific expectations of space travel elaborated in mythologizing fiction. It should be appreciated that for many in the post-war world, to enter into “space” was already to encroach on the “heavens,” formerly the territory of angels and their subordinates traditionally and still widely believed to govern the planetary and stellar systems.

To enter into space was to encroach on the heavens, the territory of angels ( natalia9 / AdobeStock ).

John “Hoppy” Hopkins and the London Free School

The Sixties saw the birth of another influential way of looking at the spiritual significance of Ancient Civilizations. Cambridge graduate John Hopkins (1937-2015) could have enjoyed a career as a nuclear physicist, but instead chose photography as a way of getting to grips with the real world and its inhabitants. Entering the London scene on New Years’ Day 1960, by 1965 “Hoppy” had become a kind of one-man internet, compiling through his many contacts encountered on his varied photography assignments details of anyone who appeared to be “doing anything” in the fecund world of the London art and music scene. Making a stencil copy of the list, he distributed it to all the names included, thus creating a dynamic context for communication and knowledge, as well as a sense of belonging and common purpose. This was the scientist in him, which made him a practical problem-solver, as well as a person who could express his genuine enthusiasm openly. Impressed by something positive, “Hoppy” would say “Wow!” and that meant what it said.

For our purposes, “Wow” meant the first manifestation of the “counter-culture” as a self-conscious animal. A couple of months after organizing a standing-room only poetry event held on June 11, 11, 1965, at the Albert Hall, in Kensington, west London—playfully titled the International Poetry Incarnation—“Hoppy”.

Rhaune Laslett and others launched the London “Free School” in a Notting Hill basement in west London. The Free School encouraged easy acquisition of useful knowledge and crafts: a utopian place where people with skills could pass them on quickly without institutional hurdles. Out of the energies stirred up in the process came the West Indian showcase, the Notting Hill Carnival, the influential underground magazine “International Times” (that so enraged the government) and eventually the famous axle of psychedelia, the UFO Club at 31 Tottenham Court Road, established by “Hoppy” and Joe Boyd in 1966, which employed the first “light shows” in rock music. Early experimenters in light and sound were The Pink Floyd who played their first benefit show at Notting Hill’s All Saints Church to raise money for the Free School, before becoming a regular attraction of the UFO Club. A recent BBC film on the Floyd included an interview with percussionist Nick Mason who mentioned in passing that you could learn about “Gnosis” at the Free School. This was the word that Storm Thurgerson (1944–2013), the designer of the Floyd’s second album A Saucerful of Secrets (June 1968), combined with “hip” (as in “aware”) to produce the trend-leading company of album design: “Hipgnosis.”

Floyd’s second album “A Saucerful of Secrets” – a loose representation of the album cover. (tombud / Public Domain )

Contemporary Interest in Ancient Civilizations

The Free School happened in the basement of a house belonging to John Frederic Carden Michell (1933–2009). It was Michell who directly inspired the intrigue that permeates contemporary interest in Ancient Civilizations. Educated at Eton College and (like Aleister Crowley) at Trinity College, Cambridge. Michell’s Cambridge experience had been asphyxiated, as he saw it, by rationalistic and materialistic orthodoxies. For Michell, it was the emergence of the U.F.O. phenomenon in the fifties that gave leverage to opening the mind to new ideas about human origins.

Michell offered Free School courses in U.F.O’s, ley lines (invisible “power lines” believed to pulse between ancient sites of worship forming “sacred landscapes”), and Gnostic traditions . Michell’s knowledge of Gnostic lore is evident in his book The Dimensions of Paradise: Sacred Geometry, Ancient Science, and the Heavenly Order on Earth (1971).

Ley Lines. (vaXzin / CC BY-SA 2.0 )

Michell accepted French spiritual philosopher, Fabre d’Olivet’s concept of the “Tradition”. The Tradition existed, it was believed, in a pre-Egyptian civilization that understood the relationship of spiritual and created orders. Suffering a primordial deformation, it descended to us in fragments, locatable as “traditional knowledge” in cultures globally and with spiritual inspiration, to be re-composed for our transformative times. It was not so much “Man”, but his knowledge base that had “fallen”.

For Michell and others, the British Isles held a unique role in the return of traditional consciousness to the world and in this belief, Michell had the support of the spiritual legacy William Blake represented in Blake’s dynamic psycho-spiritual and geographical myths (See my biography of Blake: Jersualem! The Real Life of William Blake , Watkins, 2015). In 1967, Michell’s pioneering work in what has become a small industry of “New Age” Earth Mysteries publishing began with The Flying Saucer Vision: The Holy Grail Restored, published after his article on Flying Saucers appeared in International Times in 1967, but it would be Michell’s 1969 book View over Atlantis that gave massive impetus to the spiritual-eco-aware speculations of the world’s “alternative” hippy-derived, sometimes Gnostic, magical sensibilities from the 1970s to the present time. It was Michell who drew up the Glastonbury Festival “pyramid” stage on proper cosmic dimensions and Glastonbury stands today as a living monument to this fertile Sixties-based impetus.

Top image: Concept art of an ancient astronaut (grandfailure / Adobe Stock)

This article comes from the book ‘ The Spiritual Meaning of the Sixties: The Magic, Myth, and Music of the Decade That Changed the World ’ by Tobias Churton.

By Tobias Churto

[camploah]

We’ve been keeping our eye on Ms. Mosaku, noting her small but powerful turns in ITV’s Law and Order: UK (2010), Vera (2011), BBC’s Dancing on The Edge (2013), Channel 4’s Capital (2015), BBC’s Damilola: Our Loved Boy (2016), Netflix’s Black Mirror (2016) and Sky Atlantic’s Guerilla (2017). She has also been popping up as a lead in movies like I Am Slave (2010, still on Netflix), and smaller parts in Batman vs Superman: Dawn of Justice (2016) and Fantastic Beasts and Where To Find Them (2016). We jumped at the chance to see her in her latest drama, ITV’s latest essential viewing, Fearless.

Fearless will be the test of Mosaku’s true talent, if she’s able to hold her own in a lead role with heavyweight principal star Helen McCrory (Cherie Blair in The Queen, 2006, and The Special Relationship, 2010) and the third strong female lead, the Emmy-nominated American actress Robin Weigert (Deadwood, 2004-06, Jessica Jones, 2015).

The story is – Emma Banville (McCrory) is a human rights lawyer providing a roof over the head of the wife Miriam (Katrina McAdams) and son of her latest client, missing Syrian doctor Youssef Attar (Dhafer L’Abidine). She has an eye for detail and a reputation for the relentless pursuit of it, regularly braving the censure of the police, and the eye-rolls of her colleagues. She has the total support of lover and ex-paparazzo, Steve Livesy (John Bishop). When she receives an email from a married woman on her son’s 14th birthday, pleading the case of her ex-husband (and said child’s father), Banville is left impressed.

Kevin Russell (Sam Swainsbury) has been serving life, for the torture and murder of a teenage girl, which he insists he’s innocent of. His ex-wife, Annie Peterson (Rebecca Callard), has always believed him and at the end of a difficult interview with Russell, Banville is spurred into action. So begins her review of the original interview, confession tapes and transcripts, resulting her getting the conviction overturned and Russell released. Only then to be faced with a re-trial after damning new evidence emerges.

Mosaku’s Detective Chief Superintendent Olivia Greenwood of SO15 Counter-Intelligence, livid at developments, involves herself as Russell’s confession and subsequent conviction were the springboard of her stellar career. Cue mysterious transatlantic calls from a worried Sir Alistair McKinnon (Michael Gambon) to exasperated working mum Heather (Robin Weigert), morally shocking twists and turns, and a string of showdowns between our fabulous females. All of this, plus several absorbing parallel storylines which subtly speak to the times in which we live.

The press-filled audience was utterly silent during the screening, and collectively heaved a huge intake of breath after the series trailer ended. An enthusiastic, warm applause followed, once oxygen was allowed to circulate! I have the feeling that leading independent programme makers, Mammoth Screen has another hit on their hands for ITV. As Banville says, not devoid of feeling, “There’s nothing like a dead, white schoolgirl to advance a few careers...”

Mammoth gathered a great production team for this. Writer-producer Patrick Harbinson’s best known work has always shown the gritty realism of the world with the flair and polish of stylish US production. In espionage thriller 24 (2001-10), he wrote realistically in real-time for 7/24 episodes with a cast including a female president during his tenure, and superior African-American actors Dennis Haysbert as President David Palmer (2001-07), Penny Johnson Jerald as Sherry Palmer (2001-04) and DB Woodside as President Wayne Palmer (2003-07) before his time! The popularity and engagement with 24 may have seeped into the American consciousness enough to have contributed to making the Obamas possible.

With Homeland (2011-19), Harbinson humanised the plight of those caught in the complex, dysfunctional relationship between America and the Middle East in 10/48 episodes (2013-2017). With Fearless, he has managed to bring much of his experience to this uniquely British-feeling thriller, which combines politico-legal drama with the tease of conspiracy and terrorism balanced with relatable human stories.

Contrary to 24, Harbison has written a tightly plotted script which, although economical, avoids lazy plot holes and unbelievable leaps of intuition and coincidence, at least in the pilot. He has made Banville a razor-sharp intellect, devoid of showmanship or hubris, because she fundamentally understands that lives are at stake. McCrory makes us believe it. “She is old school,” McCrory said at the post-screening Q&A of the habits Banville indulges in and the car she drives, “She solves things in real time.” As unfashionable as they might now be, they have not been used as a weak attempt to allow her to ‘compete with the boys’ as other strong female leads have endured.

Director Pete Travis (City of Tiny Lights [1], 2016, Legacy TV movie 2013), also present at the Q&A, gelled perfectly with Harbinson’s storytelling, and kept his direction equally tight. His use of the many close-ups, he said, was an easy choice when supplied with the extraordinary faces and underlying accomplished talent with which he had to work. “It was really important not to have stereotypes wherever we were – not that we had any at the beginning [post-Brexit, pre-Trump], but [post-Trump], we realised we wanted each character to have a rich history… the complex nature of what it would be like to be… living in London and the way you could be targeted, whether you’re innocent or not …” Combined, the writing and directing team of Harbinson and Travis gives a master class in the much-quoted ‘show, don’t tell’. Combined with cinematographer Rasmus Arrildt, Travis has managed to change the scope of the revelations from the intimate to the wide-reaching with the use of just 2 cameras, and at least one hand-held! “I think it’s really important to let the camera facilitate the story,” he said. I think he felt a certain empathy with Banville, realised or not, and the end-product is the better for it.

Executive Producer Damien Timmer could be one of the most qualified producers in the country to have pulled this off to the promised standard. His CV includes NW, 2017, Poldark, 2016-17, Endeavour 2012-17, Victoria, 2016, Tripped, 2016, Agatha Christie’s Marple, 2004-13, Lewis, 2006-13, and Agatha Christie’s Poirot, 2003-13. These are all quintessentially British from different periods with different societal focuses. Here again, is another in Fearless. He is a quiet man who gives the impression of a huge passion for his work. In his more modern productions after his long and successful history with period pieces – Lewis, Tripped and NW, he has shown a willingness to move with the times.

In Lewis, he oversaw the casting of Angela Griffin as a DS in 12 episodes, Babou Ceesay as a DC in 2, Kemi-bo Jacobs as a WPC/DC in 2, and Steve Toussaint as a Chief Superintendent in 6, along with Ariyon Bakare (2), Richie Campbell (2), Joe Dixon (2), Peter de Jersey (2), Wil Johnson (2), Tosin Cole (2), and Pippa Bennet-Warner as a reporter (2), to name a few. In the uniquely British sci fi comedy series Tripped, Georgina Campbell handled multiple personas as part of the excellent, time travelling central cast. He took on Zadie Smith’s well-loved best-seller NW, a story written from multiple aspects of the black British perspective, and secured a strong cast in the fantastic Nikki Amuka-Bird [2] as principal, supported by central cast mates Richie Campbell, OT Fagbenle and Cyril Gueï.

Now, Timmer has given us possibly the first black female DCS on UK TV in Mosaku’s Olivia Greenwood – a policewoman at the top of her game, a complex character who doesn’t need to be liked to do her job in pursuing the truth, but who is reticent about her private life. Her ethnic origin is incidental, so Mosaku can really stretch her acting mettle without the usual racial restraints. There is no ‘Angry Black Woman’ here. Greenwood is so much more and allowed to show it. During the Q&A, Mosaku admitted to it being a new experience for her, though she has previously played a hapless detective constable in Vera and a traffic warden in Capital. This is a truly meaty role to which, if the pilot is anything to go by, she more than rises to meet. Greenwood’s cool, determined manner, as one who might have a lot to lose should Banville succeed, adds to the uncertainty of who is good, who is bad and whether the case of the tragic schoolgirl can possibly have any grey areas.

To my question on how the finished product made them each feel, Timmer said, “Really, really proud of making a grown up, contemporary piece for ITV… for a commercial network.”

McCrory said, “Playing Emma, who’s really quite an introverted character, I liked the fact that she doesn’t explain herself all the time… I’m genuinely very excited. I don’t like watching myself, and I don’t… I watch the drama around me, and that’s down the skill of this man [Timmer] and this man [Travis], Patrick and the rest of the cast. I really want to unleash Emma onto the world, on lots of cases! I hope the audience like her.”

Travis said, “[It’s] pretty much a dream job for me really. I’ve always wanted to do things that were about politics, but not overtly political… I think we do live is scary, dark times, and it’s nice to tell the story of a character that’ll hold a candle up and says,’ there’s a light here, it doesn’t have to be this bad’, I find that quite exciting.”

Mosaku said, “I really enjoyed watching it, it’s dead exciting… I really can’t wait to see the rest!”

Fearless also stars Sir Michael Gambon (The Viceroy’s House, 2017, Fortitude, 2015, 6/8 Harry Potters, 2004-11, Maigret 1992-93, The Singing Detective, 1986), Jamie Bamber (Battlestar Galactica, 2004-09, series 1-3 Law and Order: UK, 2009-12, Marcella, 2011) and comedian John Bishop (Accused, 2012, Skins, 2009-10).

[romanmacharoni]

The Best Songs of 2016

I know some critics say that 2016 was a bad year for music (and yes, it was, let’s be honest). We also lost quite a few great musicians too. The world won’t be the same without titans like Prince, Bowie, and George Michael. 

That doesn’t mean there wasn’t a lot of awesome music out there. Quite a few songs set fire to the charts in more ways than one and really showed us that there are diamonds in the rough. There were 15 in particular, similar to my film list for the year, so here we go. These were the best songs of 2016.

First, some honorable mentions...

“Dangerous Woman” by Ariana Grande https://open.spotify.com/track/7l94dyN2hX9c6wWcZQuOGJ

The only reason it’s not on the list itself is because of its poor sense of pace. The build is way too monotonous and slow. The chorus kills it, though, as Ariana feels right at home hitting this sweet spot on the album of the same name. 

“Chunky” by Bruno Mars https://open.spotify.com/track/0mBKv9DkYfQHjdMcw2jdyI

Bruno Mars’ newest album, 24K Magic (which title track is on the actual list, spoilers), has quite a few winners on there, but this sticks out as the second best of the album. Though it’s weird to refer to normal sized, curvy woman as ‘chunky’, it’s still a pleasant jam with a tight production as it plays to Mars’ strengths. The back-up vocals complement him well, and the keyboard adds some welcome spice to the composition.

“Adventure of a Lifetime” by Coldplay https://open.spotify.com/track/69uxyAqqPIsUyTO8txoP2M

I feel like this has become a commercial song (not that’s always a bad thing), but this is still a solid track. Delightful to listen to when you’re in a good mood. Coldplay isn’t what they used to be, but they are far from bad with this new direction. That guitar ‘drop’ if you will is trance-like and peppy. With all the slow stuff we got this year, it’s nice to have something like this on the radio. 

“The Good News” by Bloc Party https://open.spotify.com/track/3FI3nRETDMfK3z9SQwfVZr

While bright and loaded with the religion-inspired direction of Bloc Party, this song has some needed grit. Those guitar on the chorus give this track warmth and something to chew on while you’re listening. Kele’s soft vocals pair well with the strings to create something wonderful. 

“Play That Song” by Train https://open.spotify.com/track/3ZMFrvkNgwwMfPdX3aThYs

 This is what “Soul Sister” should have been. Happy, short and sweet. Not great, but still an enjoyable song. That’s probably because Pat Monahan isn’t inserting his odd lyrcial nuggets in there (See in previous songs: “I’m so gangster, I’m so thug”, “Hefty bag to hold my love”). 

“The Plain Moon” by The Besnard Lakes https://open.spotify.com/track/0p6DGv92OOuXu927xxlkmH

Call it bias (I did an article on them for coming to the Beachland Ballroom), or my apology for my editor messing up the headline for a story I did on the band (sorry again, if you’re reading this). Regardless, this song is the strongest track on “A Coliseum Complex Museum”, meshing a psychedelic flow with heavy guitars to create a haunting atmosphere. The vocals have the feel of ghosts, slowly moving in and out of the lush acoustics laid on thicker than honey. It’s a powerful jam in terms of sonics and a brilliant piece of music that honestly should have charted. Also, you can put “Towers Sent Her to Sheets of Sound”, reminiscent to a Beach Boys jam mixed with the usual psychedelic sound, on here as well. They’d be tied if this wasn’t an honorable mention.

You can read my piece on the Besnard Lakes here. 

“East Coast Girl” by Butch Walker https://open.spotify.com/track/2PMRCXna6KCB5D5EVU3hzD

 Consider this the unofficial #16 of this list. A modern fusion of personalities such as Bruce Springsteen and John Mellencamp collide in this cool little flashback track. Butch really projects himself in the chorus, opposed to his laid-back delivery in the verses. The storytelling feel to the verse as well places you into that throwback mood this song gives off. 

Now, onto the list...

#15 -  “Love Like That” by Mayer Hawthorne https://open.spotify.com/track/2pk8466VZtaO1QiiqaSJ8e

 I’ve been a fan of Hawthorne for a while. His use of old and new conventions to create fantastic pieces of music has been on my radar for equally as long. His appeal mimics how Chromeo came on the scene in 2014. Of his three singles released this year, “Love Like That” feels the most fitting for the radio and this list. Its crisp production is paired with a bombastic chorus and tight percussion. Mayer clearly knows what he’s doing here. A strong song to start off this list. 

#14 - “The Love Within” by Bloc Party https://open.spotify.com/track/35Qc5U57RCROGY3h2l0d51

 Bloc Party’s “Hymns”, another re-invention for the decade-and-counting post grunge Brit-punk band, begins with a looping, weaving synth. It’s met with a thudding bass drum and Kele’s voice welcoming you to their new musical direction. And then the drop hits, and you know that this will be a fun ride. Very few albums this year start out this strong. I still haven’t heard anything like this so far. It’s just fantastic, and at the same time fascinating. 

#13 - “Send My Love (To Your New Lover)” by Adele https://open.spotify.com/track/3LGxef3inmn5jMLGDz9lqw

While I did enjoy “When We Were Young” off her album “25″ a lot, “Send My Love” layers her voice beautifully and gives her a unique platform to provide her heavenly vocal work and deliver a great performance. The minimalist nature of her music is a little less evident here, but it’s not overpowering. It feels more free than her usual mega-smash hits, which is why I decided to place this track on here rather than the aforementioned “Young”. The lone guitar providing the majority of the back beat is solid and quite atmospheric. And as always, Adele knocks it out of the park.

#12 -  “Reaper” by Sia https://open.spotify.com/track/1usLCyaUZ2y0uoPmKj1uYo

So Kanye West helped out Sia for this song off her album “This Is Acting”. You can tell. The delivery is very close to West’s part in the previous year’s “FourFiveSeconds”, and Sia has the conviction to make it feel genuine. I guess her ‘acting’ is just fine for this. I enjoy the sing-a-long feel to this track and the flow of the lyrics in the chorus most of all. Sia can really let herself lay it all out on this one, and it’s probably why this was chosen to be a single off the record. 

You can read my review of “This Is Acting” as an album right here. 

#11 - “Same Old Blues” by Phantogram https://open.spotify.com/track/28iw1FqJf6Vnfl2Fcu9rBh

I made sure to not include non-charting songs (as in not on the Hot 100) out of my Top 10, as I try to focus on hits, but I had to include this one. Plus, their third album — appropriately entitled “Three” — placed 9th on the Billboard Hot 200 in late October, and this song feels like the star of the album, burning so bright that’s blinding. It’s an elegant orchestration with gorgeous vocal work, and a killer guitar break towards its conclusion. Phantogram have always been known to brilliantly deconstruct and build their tracks to create sweeping pieces of music, and this is no exception. A fantastic piece I can recommend to everyone.

#10 -  “Cheap Thrills” by Sia https://open.spotify.com/track/27SdWb2rFzO6GWiYDBTD9j

From those of you who may have read my review for “This Is Acting” (link above), you might have seen that I said that the album was only slightly above average, a mixture of hits and misses. However, when Sia hits... it’s masterful. This one isn’t the most well written or put together, but it captures a feeling better than anything else on the album. I guess she’s been writing for Rihanna for so long that I can’t tell if this is her attempt to sound like her or Sia’s elements that she adds to Rihanna’s repertoire, but it works. This pseudo-island feel suits Sia as perfectly the odd face-concealing wigs she wears. 

#9 - “Into You” by Ariana Grande https://open.spotify.com/track/2meEiZKWkiN28gITzFwQo5

The first four tracks of her third studio album “Dangerous Woman” are pretty stellar, a mixture of the elements that make Ariana shine among the other pop divas (Daya, you could learn a thing or two). This string of songs is capped off by this slice of polished and refined pop excellence. The structure and production screamed for this to be a hit, and the populous answered accordingly. Grande’s grand on this track (see what I did there?), belting it out and oozing with sensuality.

#8 - “Drive It Like You Stole It” by Sing Street ensemble https://open.spotify.com/track/2ZBiHAwdeCnrKvXap6Yzef  

I don’t mean the other version with Hudson Thames. His vocals alone are… not as good as the original released with the trailer for “Sing Street”. The added filters to his voice as well as the back-up performers fit the mood of the bouncy instrumental a lot better. Simply put, a welcome homage to 80′s pop ballads. The beat almost has a doo-wop feel to it, fitting for a film that somewhat resembles an alternative “Footloose”. The final chorus breakdown is also what I consider hair-standing-up-on-neck pop perfection.

#7 - “Starboy” by The Weeknd ft. Daft Punk https://open.spotify.com/track/7MXVkk9YMctZqd1Srtv4MB

The Weeknd made my top spot last year (in a tie, too!) but this year there was quite a few acts who really stepped up their game, so here he sits. That doesn’t mean that this song isn’t kick-ass, though. Daft Punk found a great partner in ol’ Saturday/Sunday here, as they meld a tight and methodical instrumental to pair with Weeknd’s always fine-tuned vocals. Elements of Daft Punk blend with Weeknd’s usual darker tones to create a melody that manages to be glittery and haunting simultaneously. It’s an ear worm in the best way. The stars are far from the limit for this pairing; I really hope they try another collaboration.

#6 - “This Girl” by Kungs and Cookin’ on 3 Burners https://open.spotify.com/track/5D1swG82nVVngZLHOLbe0V

I’m placing the extended version on here because I believe it builds the instrumental easier without just throwing it all out there first thing. However, either version is solid. The original by Cookin’ on 3 Burners is nostalgic kick-back to blues classics, but this sped-up and pumped-up remix by Kungs gives this song some needed pep. And those trumpets, my God. They’re loud, they’re large and in control; they make this song an instant summer classic in my opinion. Best drop of the year, bar none. I can’t say enough good things about this song.

#5 - “Let Me Love You” by DJ Snake, Justin Bieber https://open.spotify.com/track/0lYBSQXN6rCTvUZvg9S0lU

DJ Snake has really stepped up his game. This song feels minimal but is structured perfectly for a satisfying experience. Bieber’s vocals are great here, it feels like he’s really found his rhythm in this song. The drop is pure bliss and quintessential DJ Snake. It almost feels sad, as it complements the nearly pleading nature of the lyrics. The build works around the vocals to spotlight them and let them complement the composition.

#4 - “24K Magic” by Bruno Mars https://open.spotify.com/track/6b8Be6ljOzmkOmFslEb23P

Mars’ “Unorthodox Jukebox II: Electric Boogaloo” “24K Magic” opens with a bodacious nod to Zapp and Roger before breaking down into the grooviest track of the year. It’s also prove that lightning can be caught in a bottle, as it models itself and improves on “Uptown Funk” from the prior year. Normally I dislike the use of his ‘posse’ back-up vocalists, but they a lot to this track and make it feel like a true ‘playa’s’ anthem. Mars feels so loose on here, just shooting the breeze, juxtaposing the tight, restrained composition. A perfect party-starter with endless re-playability.

#3 - “Redbone” by Childish Gambino https://open.spotify.com/track/3kxfsdsCpFgN412fpnW85Y

This is one of the funkiest tracks to come out this year, a mix of a tribute to Bootsy Collins and R&B slow jams with a modern flair. Glover has a tremendous sense of pace here, taking its time to build. His voice throughout is strange yet inviting. I find myself always going back to this song by any mood, it’s just a beautiful piece of music.

#2 - “I Took A Pill in Ibiza— Seeb Remix” by Mike Posner https://open.spotify.com/track/1MtUq6Wp1eQ8PC6BbPCj8P

Depression and optimism mix to create such a solid song. Mike Posner’s meaningful lyrics are better highlighted here with this punchy bass rather than the original slow acoustic delivery. This personifies a state of lull with sparks of excitement. Even the small things like the tambourine in the bridge (you’ll never not notice it once you do) and the voice manipulation add so many layers to the track. It’s just so satisfying to listen to.  

#1 - “Lazarus” by David Bowie https://open.spotify.com/track/3Vn9oCZbdI1EMO7jxdz2Rc

This is the closest thing to a perfect song we got last year, and it came so early in the year as well. It stuck with me all this time. From the moment the drums kick in, it’s like a musical euphoria. This is where the dark scratches the surface of the light for me in terms of tone, a proverbial sweet spot if you will. The somber, beautiful saxophone pairs with a light funky bass and David’s brutally honest delivery. This is simply a masterpiece, a perfect final note for a career as varied and brilliant as Bowie’s. RIP Ziggy Stardust, even in death you showed us all what you’re capable of.  

[themosleyreview]

The Mosley Review: Star Wars: The Bad Batch

And so the Star Wars franchise continues to expand in interesting and somewhat risky directions. During the time Attack of the Clones came out, if you had told me that there was gonna be a series about just a squad of clones and no Jedi are part of the main plot, I would say you’re insane. Well, here we are today and I am elated. The Clone Wars animated series gave us many different perspectives of the war whether it be the Jedi, the Sith, the Republic or even the inhabitants of each planet the war landed on. The most interesting and quickly beloved perspective were the of the ones really fighting the war, the Clones. I have fallen in love with a number of them and all their complexities, but Clone Squad 99 really shined brightest toward the end of The Clone Wars series. This series continues where that prior left off and you get a fresh perspective of the end of the war and the beginning of the Imperial reign. You witness the tragic death of an important Jedi and the emotional impact it has on them. What was fascinating is how the Bad Batch navigated across a galaxy that was rapidly changing and to see it was satisfying and heartbreaking. This was a surprise at how fun this series became and how much of a connection it has to the other series and video games that come after it in the Star Wars canon timeline. Now at times it felt like an “adventure a week” styled show which was great, but could've truly cut back and focused on the main plot. That being said, it still was an excellent achievement in storytelling and added layers to characters that stole our hearts the moment we met them.

Squad 99 or The Bad Batch were stellar and fun all around. Hunter is an excellent leader that leads with compassion and has a strong moral compass that is always true north. I loved his sort of Rambo style design and his incredibly effective fighting skills. Tech was perfectly made out to be the genius of the group. I loved how he is a valuable part of the team, but his social skills are not that great, but you love him all the more for it. Wrecker was the big loveable heavy of the group. He has the strength of 50+ men, the skill of a great trooper and a heart of gold. Echo really gets to shine and I loved that he uses what happened to him as an advantage and not as crux. His irreverent humor is really appreciated in some of the more intense moments. Crosshair was cold and awesome as he would become the most deadliest of the group. I liked that he had the most edge amongst the group. They are all brought to life by legendary actor Dee Bradley Baker and it was astounding how much of an identity he gave each character. This was yet another master class in acting and imagination. Michelle Ang joins the crew as the only female Clone Omega and it was interesting to see her experience the galaxy. Her innocence is tested and sometimes taken away as she experiences the darker and more dangerous parts of the galaxy. How she navigates through her new found life away from Kamino was fascinating and truly refreshing. Her chemistry is great with the the Bad Batch as she starts to see them as their family which they are, but the bond gets even more powerful than that. There are a great deal of cameos and surprises and I won't spoil them all here, but I will say that seeing Ming-Na Wen show up once again as Fennec Shand was awesome and I liked seeing some of her history.

The outstanding score was done by the mystro of The Clone Wars, Kevin Kiner. His compositions and orchestration is amazing and bleeds the very same blood of John Williams into every note of the score. This man understands the classic nature of Star Wars music and he pays tribute to it all and compliments as well with fresh takes of classic themes. Visually the show is stunning and I love the usage of depth in the animation. There are so many stills that can be taken from the show and posted at an art museum. Like I said before, my only gripe is that the show felt a little dragged along in the middle portion and could've just been 12 episodes instead of 16. It was a rollercoaster of greatness and then sometimes filler, but a great continuation of the timeline. Overall, I enjoyed the show and it was a risk that paid off in many ways. I can't wait to see what new adventures The Bad Batch will go on and the challenges they'll face. Season 1 is currently streaming on Disney+. Let me know what you thought of the show or my review in the comments below. Thanks for reading!

[oosteven-universe]

Oliver #4

Oliver #4 Image Comics 2019 Written by Gary Whitta Illustrated by Darick Robertson Coloured by Diego Rodriguez Lettered by Simon Bowland     Oliver leads his military family in an uprising against the government forces sent to London to capture him, but at a terrible cost that leaves him grief-stricken—and bent on revenge.     This is a wild ride for sure and you ever know what direction this is going in or what is going to happen next. The way Gary is able to draw you into the story and engage your mind is simply amazing to see. All Oliver wanted was to find his mother and who he was and while he was raised by Prospero and taught how to handle himself it was kept separate from the others and Oliver felt incredibly isolated. This story is him overcoming everything he feared and doing something for himself and others, proving that a half-breed isn't something to be feared.     The story & plot development that we see here through the release of information as well how the sequence of events unfold is magnificent. There is a real kinetic energy that seems to be released by how things move here and the pacing is so good that it give you this rush as it races through the twists and turns plus the revelations. The characterisation is utterly brilliant to see. To watch them come into their own, realise who and what they are, the men who are former soldiers and not broken husks waiting to die, under Oliver's example has been kind of inspiring to see. I totally and utterly impressed with the way that makes me feel and how cinematic it can become, which is darn good thing. I mean I could see this in the same vein as the original Watership Down in terms of animation and impact.     The tug of war that happens between the sides who fighting with or against Oliver is so well portrayed here. The big thing for me is that while (god I wish names were said aloud more) Fox Leader is the one who is like a dog with bone or a shark in frenzy for Oliver and it isn't even about the law at this point it's about pride. This man who doesn't fail is failing and he can't handle that and whether the law is right or wrong he really doesn't care about, he's “following orders.” The writing and the characterisation here so good, so strong and so compelling.     Darick, do we really need to talk about how good his interiors are? I mean the man is so frakkin talented and so attention to detail oriented that he makes everything he works on a dream come true visually. To see the view change from one panel to the next and seeing walls, objects or what have you all still look the right way and the same item is the kind of detail we should see everywhere but don't. The linework is exquisite as the emotions they invoke are simply stellar. The utilisation of the page layouts and how we see the angles and perspective in the panels show a masters eye for storytelling. Also he does an amazing job utilising the backgrounds and bringing us this depth perception and scale not to mention enhancing the moments and bringing that size and scope of the story to the book. ​     This has been one hell of a ride so far. I love how this started and then watching the characters and the storyline just grow, evolve and change through the actions and reactions that we see. This is less a scripting and more of a telling of accounts and that aspect for me is so rarely seen any longer. The last I felt that way was Wolfman/Perez's New Teen Titans, and well yeah so I cannot wait to see what is going to happen next because I know this isn't the end of Oliver's journey. He has a new quest in mind now and this world better watch out, better not cry............  

[ethenell]

BEST FILMS OF 2016: Honorable Mentions, Part I

Just keeping the Oscars momentum going, I figured today would be an appropriate time to start rolling out my picks for the best films of the past year. It’s a bit late, but when you take on a 750 mile move in the middle of award season, sacrifices must be made … 

But 2016 had a lot to offer at the cineplex - narrative and documentary, foreign and domestic, tragedy and comedy. All were well represented in the tapestry constructed by the talented filmmakers who brought stories to the screen in 2016, and many of them were on display at the Academy Awards last night - which should never be taken for granted given the Academy’s penchant for ignoring some tremendous work. (Side note: Is Amy Adams the new Leo DiCaprio? If she isn’t, she should be - get her an Oscar, stat!)

But before we get to my top ten, we’ll begin with some Honorable Mentions, presented here in alphabetical order:

10 Cloverfield Lane

This expansion of the Cloverfield cinematic universe proved far more effective than the original entry, trading in the non-stop found-footage NYC monster destruction for a claustrophobic thriller which pits Mary Elizabeth Winstead’s everywoman against John Goodman’s terrifically sinister turn as a doomsday prepper who may or may not be hiding some terrible secrets. The film’s great strengths really don’t borrow at all from J.J. Abrams’ Cloverfield, but the association gave them the studio power and budgeting to make it all work. It’s one of the year’s best thrillers and provides a nice template for the ever-expanding number of cinematic franchises who could use some out-of-left field entries to keep things interesting. 

American Honey

Andrea Arnold has taken no time in establishing herself as the modern master of verite cinema, with Red Road and Fish Tank paving her path to prominence. And now that she’s traversed the Atlantic to make her first film filmed and set in America, she’s proven that her keen insight surpasses her native UK, taking a cast of largely non-professional actors and turning them into one of the standout casts of the year while bringing a quixotic coming-of-age Middle America road movie to life. No small feat, but damn she makes it look graceful - and coaxes a tolerable (if not borderline excellent) performance out of Shia LaBeouf while she’s at it. It’s almost certainly overly-long, but there’s so much breathtaking content within, you’d be hard-pressed to pick out what should have stayed on the cutting room floor. 

Don’t Think Twice

Mike Birbiglia’s love-letter to improv comedy has a beating heart that reaches beyond the confines of its subject and reaches hard truths about coming to terms with one’s own failures of ambition while others around you succeed. It’s as bittersweet as they come, but it’s the passion of Birbiglia and his stellar cast (including Keegan-Michael Key, Gillian Jacobs, and Chris Gethard) that is apparent from frame one that really sticks with you. His direction is unfussy, but Birbiglia’s writing and characterization is on par with the best examples of 2016. For a guy whose real talents seem to still be revealing themselves, Birbiglia has made a big leap, here. It shouldn’t be missed.

Everybody Wants Some!!

Fresh off the runaway success of the decade-long experimental project that turned into Boyhood, Richard Linklater announced that he would return with a “spiritual successor” to one of his most popular films, Dazed and Confused. To say such a statement generated excitement would be an understatement, but saying that Everybody Wants Some!! lived up to the hype would be similarly faint praise. Linklater can wear a lot of hats in the directors chair, but he’s rarely worn his carefree hat more confidently than he does in his latest venture, which is a strikingly mature exploration of obviously immature subjects. But it’s Linklater’s ability to draw out the profundity in the poisonously unchecked masculinity of a 1980′s college baseball team that speaks to his formidable talents as a writer of youthful characters.

The Handmaiden

Park Chan-Wook’s deliciously twisted tale of betrayal and erotic literature (yes, seriously) layers twist upon twist with exacting precision and the same eye for storytelling which has made him a cult favorite among cinephiles since his groundbreaking and beloved film, Oldboy. Constructing a thriller around the politics of race, sex, and class in pre-WWII Japan might seem like an ambitious venture, but the ambition of concept is nothing compared to Park’s ambition of execution, in which he aims for the stars and hits his target more often than not. Even when he misses, Park leaves you with the lasting impression that he’s an artist in search of his best work. When one considers what he’s already put on screen, the idea that he’s yet to find it is tough to imagine, yet surpisingly easy to believe. 

[lindsaynsmith]

10 Horror Films In Desperate Need Of A Blu Ray

10 Horror Films In Desperate Need Of A Blu Ray https://ift.tt/2PoIlUF

A few months back I watched a film from 1953 called The Maze. It was directed by William Cameron Menzies, the same man who did Invaders from Mars (1953) and a slew of other highly regarded silent and early sound films. The Blu from Kino Lorber is pristine. I had never seen a black and white film look so good, despite having seen what I thought were perfect prints and scans.

As for the film, a quiet vaguely Lovecraftian tale of longing, loss, and familial curses, I could foresee how it had been lost throughout cinema history. A film could be amazing, yet with a shoddy old print or transfer it becomes impossible to watch. Due to carelessness, we may have lost more masterpieces than we know. And that’s where Blu Ray comes in. Eventually, we’re going to get to the point where we can’t conceivably get better quality than this, right? And if Blu Ray is it, what will happen to the films that don’t make the upgrade? Will it be the same as VHS to DVD, where a library of movies are tethered to one outmoded media and hardware? The following films are in danger of being lost, let’s try to save ‘em.

Keep reading for a look at the 10 horror movies we most want released on Blu-ray as voted on by Chris Coffel, Kieran Fisher, Brad Gullickson, Meg Shields, Rob Hunter, and myself.

10. Anguish (1987)

Films with a “meta” element can be tough to pull off, and for every slice of brilliance (Kiss Kiss Bang Bang, 2005) there’s a messy misfire (Last Action Hero, 1993). One of the more unappreciated examples is Bigas Luna‘s Anguish. There’s an argument to be made that its film within a film within a film structure amounts to nonsense, but what it lacks in vigorous logic it more than makes up for in style, tension, and creativity. Its various threads are captivating and suspenseful in their own way, and in today’s world the movie theater segment carries far more terrifying power than it once did. At its most basic it’s a Psycho (1960) riff about a man and his mother, but it succeeds far better as an eye-opening look at our own obsession with watching.” A new Blu-ray would sharpen the picture even further. – Rob Hunter

9. The Dentist (1996)

Going to the dentist is terrifying in and of itself. A psychotic dentist with a tendency to slaughter his patients with the very same surgical equipment we all fear is even scarier. But that was the genius concept behind Brian Yuzna’s riotous B movie that saw Corbin Bernsen as the eponymous tooth surgeon. The movie spawned a sequel that’s equally as entertaining as the first, and they both deserve all the upgrades. That’s a hint Scream Factory. – Kieran Fisher

8. Hello Mary Lou: Prom Night II (1987)

There was nothing quite like going to the video store. Be it Blockbuster, Hollywood Video, or your local mom and pop shop browsing the seemingly endless shelves, staring at the alluring box art, was a film school for my generation. And no box art was more attention-grabbing as Hello Mary Lou: Prom Night 2. Which is why it’s even more disheartening that it is still orphaned on a barebones DVD. An “in title alone” sequel to Jamie Lee Curtis’ early 80s school slasher, Mary Lou takes on a supernatural twist attempting to capitalize on that either killer of dreams Freddy Krueger. The film is an instant cult classic with its bizarre incestuous plot lines and over the top deaths, but the film deserves to be remembered (and remastered) for its striking visuals, especially one of a swirling blackboard that becomes a swirling void. Hello Mary Lou: Prom Night 2 is how you do a sequel. – Jacob Trussell

7. April Fool’s Day (1986)

The 80’s were the heyday for the slasher sub-genre. Every major franchise released multiple titles and a bunch of imitators and cheap knockoffs got in on the action. While a majority of these films followed a similar template every now and then one would come along with a fresh new take, as was the case in 1986 with the Fred Walton-directed April Fool’s Day. This is a movie that is conventional until it’s not thanks to a final act that may catch some viewer’s off guard. Whether or not the film’s conclusion is one that works is a worthy debate, however, in a sea of slashers that are largely the same this film’s ending does make it stand out. Plus it features a stellar 80’s cast that includes Deborah Foreman, Griffin O’Neal, and Thomas Wilson. This is all to say that the film’s lack of Blu-ray release is a travesty that needs rectifying. – Chris Coffel

6. The Keep (1983)

Shouldn’t every Michael Mann movie be on blu-ray? The guy is a master stylist, and even his second and possibly weakest effort oozes style and craft. Shot by Alex Thomson (the eye behind Excalibur, Legend, Labyrinth, Leviathan, Alien 3), The Keep is a rich visual feast of inky blacks and mysterious light sources. To forever live in the purgatory of bargain basement standard definition is criminal. Mann tried his best to adapt F. Paul Wilson’s World War II supernatural saga, but as the budget ballooned above him, the studio lost all confidence in recouping their money. An epic 210 minutes was savagely stripped down to a paltry 96. No wonder the final plot is barely coherent. That being said, the film that is currently available is an essential addition to every cineastes library. From The Keep comes Manhunter, Heat, and all the rest. A new Blu-ray could be akin to an exorcism for Mann. Sit him in front of a microphone, and let him unleash a torrent of frustrations over the production. That would provide solid psychotherapy for Mann and quite an education for us. – Brad Gullickson

5. The Haunting of Julia (1977)

That The Haunting of Julia has never been released on DVD is a goddamn tragedy. Almost as much of a tragedy as the cold open of the film, which sees a choking child and a tracheotomy gone wrong. Also known as Full Circle, Julia sees a frazzled Mia Farrow haunted by loss, and possibly something more sinister. A psychological horror in the vein of The Changeling and The Innocents, Julia is eerie slow burn with an effective twist (and a badass soundtrack). Extant digital copies are unlicensed and subject to the ever-horrid pan and scan technique. If The Haunting of Julia isn’t rescued via blu-ray, it is at real risk of falling into obscurity. – Meg Shields

4. Mr. Frost (1990)

Jeff Goldblum has found a late-career surge with quirky performances in blockbuster movies, and as much as we love them it’s worth remembering that he used to deliver far more varied characters in smaller films. One of the best — and least seen — is this grim psychological thriller that casts Goldblum as a confirmed serial killer who just might be something worse. The film is a twisting mind-game between Frost and those around him including a detective and a psychiatrist (Kathy Baker), and his identity and abilities are constantly in question. It’s a methodically paced thriller with supernatural undertones, and I’d love to see it reach a wider audience… perhaps with a commentary by Goldblum as Frost? – Rob Hunter

3. Ghostwatch (1992)

People love to troll found footage films, and it’s easy to see why. Ridicule is natural when something becomes as popular, and as over saturated, as the format. But what far few remember is how absolutely blood curdling that first found footage film you see can be. Is it real or is it strictly fiction? The format blurs the storytelling lines. But imagine watching something like Ghostwatch before this storytelling device was widely used. Imagine how terrifying a story can become when you earnestly think you’re watching a documentary. And that’s exactly what Ghostwatch did. Originally aired on BBC as a Halloween special with national treasure Michael Parkinson as host, Ghostwatch purports itself as being a real investigation into a haunting of a family. With CC cameras and a live crew capturing the paranormal activity, the creatives blurred the lines even deeper by insinuating that the haunting isn’t just real, but could affect you by merely watching the broadcast. It was so terrifying to UK audiences that it caused mass hysteria, ala Orson Welles War of the Worlds, and resulted in the BBC banning future airings of the special. With an uptick in popularity thanks to the streaming service Shudder, Ghostwatch deserves the Blu ray treatment and a spot in your home library. – Jacob Trussell

2. Martin (1978)

The late great George A. Romero is best remembered for giving new life to the zombie genre. But in an ironic twist, his favourite of his own films is about vampires. Or is it? That’s the ghoulish gambit of 1978’s Martin: is the awkward teen an immortal blood-sucker or just a serial killer in the vein of Richard Chase? A creepy and often tender meditation on alienation, Martin is critically beloved and criminally under-seen. The film’s downbeat tone and more somber sensibility might have something to do with this, but the rights situation (more of a fiscal standoff, really) is the main culprit. Martin is a neglected, socially-relevant masterpiece; a Blu-ray is long overdue. – Meg Shields

1. The Hitcher (1986)

When I discovered that The Hitcher had yet to receive the Blu-ray treatment, I was even more baffled than that day in 2016 where I woke up to find that an actual turd had been elected the President of the United States of America. This movie gave us one of the best horror villains of all time in the form of Rutger Hauer as a murderous hitch-hiker who makes life hell for travelers. Such a simple concept, with such perfect execution (and executions). The movie is so good that Michael Bay even saw enough dollar signs to produce a terrible remake in the 2000’s, which has its own Blu-ray release. – Kieran Fisher

Press pause on the rest of your life and spin up more entries in our 31 Days of Horror Lists!

The post 10 Horror Films In Desperate Need Of A Blu Ray appeared first on Film School Rejects.

via Film School Rejects https://ift.tt/23tjcnD October 23, 2018 at 10:06AM

[thebandcampdiaries]

Rob John - Raps Of Life: hear what happens when outstanding production value meets thoughtful songwriting!

ARTICLE SUMMARY:

Rob John is an exciting hip-hop artist who was able to create a really interesting EP, exploring old school sounds and modern rap seamlessly. This release combines excellent production value, with meaningful songwriting.

At times, you come across artists who merely try to push their popularity agenda and entertain the audience with their music. In other situations, you stumble upon artists who aim for something much greater than that: to create a meaningful and lasting connection with their audience, ultimately expressing themselves and sharing their creative vision with whoever is there to listen. This is certainly the case of Rob John, a rap artist who also has a deeper message and a stunning concept, where music, songwriting excellence, and even quality visuals intertwine seamlessly.

Rob John recently unveiled a new EP titled “Raps Of Life”, which features 7 tracks. He created the project in full, doing all the writing, arrangements, as well as mixing and mastering work. This release is indeed a stunning example of the artist’s full-ranging talent, and it hits the mark in every way. Many of the track son this diverse EP channel the grit, story-telling approach and aesthetic of the classic hip-hop scene in a very unique way, echoing the work of artists the likes of Biggie Smalls or Wu-Tang Clan, just to name a few. However, the sound isn’t all about nostalgia: Rob John’s music is firmly anchored to the modern times and his eclectic approach reminds of iconic contemporaries such as Drake or Jay Z, just to name a few.

This release is actually a perfect introduction to Rob John’s outlook on music: this artist is arguably an edgy rapper and performer with a love for highly energetic sounds and thought-provoking lyricism that have a much deeper concept. His music packs a lot of punch in the wake of the golden age of rap, but his sound is also tied to the modern scene with a fresh and open look. Rob John ’s beautifully produced studio effort will definitely capture you with a mix of elements and influences, spanning genres as diverse as hip-hop and R&B. Listening to this EP makes me think highly of Rob John’s lyrical flow, which is sharp and direct, and it certainly displays the many sides of his personality, portraying him as an accomplished artist as well as a very interesting human being with lots of stories to share with the crowd. The best hip-hop is all about storytelling, after all! The first song of the EP, which is also the title track, serves as a perfect introduction to this release, followed up seamlessly by “Story and Struggle” - an amazing songs that stands out as a perfect example of what I was talking about early: deep and thought-provoking storytelling at the core of great rap music!

“Thank You” and “The Script” form the middle section of this EP, and they definitely give this release a very solid core, with an incredible sound and more inspiring lyrics.

“Gotta Melody” is very thought-provoking, but it is also one of the catchiest track son this release, and this is what makes it really stand out, in my opinion. Another excellent track is “If We Fall”, and it is not surprising that Rob John select it as the lead single for this release, accompanied by stunning visional content.

The final number, “Journey” also stands out as a perfect curtain closer and it has somewhat of an atmospheric vibe to kick off this release!

The sound of this release feels clear and sophisticated, yet warm and organic. In addition to the world-class production aesthetics, the song is also lifted up the artist’s remarkable performer, displaying a very dynamic vocal style that brings energy and vibrancy to the table, seamlessly blurring the lines between different styles and ideas. The sheer scope of the production will immediately capture your imagination. The music has a larger-than-life feel, almost hitting the speaker in a big cinematic way. These sounds are very evocative and create a strong texture, rather than just focusing on a melodic line to remember. The fact that there are many layers to this release really allow the artist to achieve an extra sense of depth, making for a strong and balanced tone.

Ultimately, the seven songs on this EP really have a lot to offer in terms of flexibility and compositional range. This release is definitely going to be your cup of tea if you enjoy the work of performers as diverse as Nas, Kendrick Lamar, and J Cole, only to name a few. Much like the aforementioned artists, Rob John has a real ability to use his instincts to write powerful songs, but he also knows how to really contextualize some good lyrics with a great production, bringing the whole concept to a whole new level.

Find out more about Rob John and do not miss out on this stellar EP:

Spotify- https://open.spotify.com/album/6agPikU9T6Vy1MmxaraBcB?si=Gf5ruEbrSGqK4V8s7fPYxA Apple Music - https://itunes.apple.com/us/album/raps-of-life/1375911609 YouTube Music - https://www.youtube.com/playlist?list=PLLSErNqa52fkCFVRhG77vp8897P2EiSiM

https://www.robertjohnf.com/