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bananaofswifts · 4 years ago

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For Women's History Month 2021, GRAMMY.com is celebrating some of the women artists nominated at the 2021 GRAMMY Awards show. Today, we honor Taylor Swift, who's currently nominated for six GRAMMYs.

When we met Taylor Swift in 2006, it was immediately apparent that her songwriting approach was like ripping a page out of her diary.

"Just a boy in a Chevy truck/ That had a tendency of gettin' stuck/ On backroads at night/ And I was right there beside him all summer long/ And then the time we woke up to find that summer gone," she lamented in the first verse of her debut single, "Tim McGraw(opens in a new tab)." The way the then-16-year-old Swift could turn personal anecdotes into instantly memorable hooks mirrored the prowess of an industry veteran, appealing to more than just the teenage girls that could relate to a short-lived high school romance.

Now, nearly 15 years later, Swift has introduced another layer of intrigue with a foray into indie folk, unveiling a pair of albums, folklore and evermore, last year. Recorded entirely in isolation after the COVID-19 pandemic hit in March 2020, folklore has been widely acclaimed(opens in a new tab) as Swift's best album, touted for its intimate songwriting and cinematic dynamics; evermore has received similarly glowing reviews(opens in a new tab).

folklore was 2020's best-selling album(opens in a new tab) and earned Swift five GRAMMY nominations at the 2021 GRAMMY Awards show, including her fourth Album Of The Year nod. (evermore will be eligible for the 64th GRAMMY Awards in 2022.) As her 10 previous GRAMMY wins suggest, though, this new chapter isn't an abrupt departure for the star—it's a masterful continuation of her evolution as a singer/songwriter.

If there's one thing that Swift has proven throughout her career, it's that she refuses to be put in a box. Her ever-evolving sound took her from country darling to pop phenom to folk's newest raconteur—a transition that, on paper, seems arduous. But for Swift, it was seamless and resulted in perhaps her most defining work yet. And folklore’s radiance relies on three of Swift’s songwriting tools: heartfelt balladeering, autobiographical writing, and character-driven storytelling.

While there was always a crossover element to Swift's pop-leaning country tunes, her transition from country starlet to pop queen began with Red. The album’s lead single, the feisty breakup anthem "We Are Never Ever Getting Back Together(opens in a new tab)," was Swift's first release to reach No. 1 on the Billboard Hot 100 (and, ironically, scoffed "indie records much cooler than mine"). She declared a full pop makeover with 2014's 1989, but the response proved that her bold move was the right one: Along with spawning three more No. 1 hits, the project won Swift her second GRAMMY for Album of the Year.

From there, 2017’s Reputation, a response to media scrutiny, and 2019’s Lover, an often bubbly exploration of all facets of affection, followed. Although they shared similarly grandiose production, Lover featured a handful of poetic ballads, including "The Archer(opens in a new tab)," a self-reflective love song that teased Swift's folk sensibilities through storybook lyrics and ambient textures.

Swift’s ballads are key in understanding the full essence of folklore. They’ve regularly marked standout moments on each of her albums, both thanks to her poignant vulnerability and rich tone. Fearless standout "White Horse" earned Swift two GRAMMYs in 2009; Red's painstaking "All Too Well" was an instant fan favorite; 1989's "This Love" and Reputation's "New Years Day" provided tenderness amid otherwise synth-heavy sounds.

The raw emotion she puts into her downtempo songs comes alive on folklore, introducing a new wave of neo-classical sonics that elevate her fanciful penmanship to an ethereal level. Whether or not Swifties saw a full indie-pop record coming—at least not yet—the shift isn't all that surprising. Folklore’s romanticized lyrics and relatively lo-fi production are arguably what many fans have been patiently waiting on.

Lyrically, the super-personal nature of Swift’s music has always captivated fans and naysayers alike; diehards and critics dissected each of her albums for its real-life subjects and hidden meanings. While she played into those conspiracies at the time—whether she was revealing names in titles like "Hey Stephen(opens in a new tab)" and "Dear John(opens in a new tab)" or scathing the other girl on "Better Than Revenge(opens in a new tab)"—even Swift herself admits that her teenage method had an expiration date.

"There was a point that I got to as a writer who only wrote very diaristic songs that [it] felt unsustainable for my future moving forward," she told Apple Music's(opens in a new tab) Zane Lowe in December of 2020. "It felt like too hot of a microscope ... On my bad days, I would feel like I was loading a cannon of clickbait when that's not what I want for my life."

That realization is what helped make folklore so memorable: Swift stripped away the drama to let her artful storytelling shine. Sure, there are occasional callbacks to personal happenings ("invisible string(opens in a new tab)" references sending her exes baby gifts and "mad woman(opens in a new tab)" alludes to her legal battle with Scott Borchetta and Scooter Braun). Still, she largely shies away from her autobiographical narratives to make way for her imagination.

"I found myself not only writing my own stories, but also writing about or from the perspective of people I've never met, people I've known, or those I wish I hadn't," Swift wrote in a letter to fans(opens in a new tab) on social media the day folklore arrived. "The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible."

folklore might be her first full project dedicated to creating characters and projecting storylines, but Swift has shown a knack for fantasy from the start. Tracks like "Mary's Song (Oh My My)(opens in a new tab)" on her self-titled debut and "Starlight(opens in a new tab)" on Red saw Swift craft stories for real-life muses ("Mary's Song" was inspired by an old couple who lived next door to Swift in her childhood; "Starlight" was sparked from seeing a picture of Ethel and Bobby Kennedy as teens). Even when songs did pertain to her real life, Swift often had a way of flipping memories into whimsical metaphors, like the clever clap-back to a critic on Speak Now's "Mean(opens in a new tab)" or the rebound relationship in Reputation's "Getaway Car(opens in a new tab)."

To think that we wouldn't have folklore without a pandemic is almost surreal; it's already become such a fundamental piece of Swift’s artistic puzzle. There was no telling what may have come after the glittering "love letter to love itself” that was Lover, but it seems isolation made the singer rethink any plans she may have had.

"I just thought there are no rules anymore because I used to put all these parameters on myself, like, 'How will this song sound in a stadium? How will this song sound on radio?' If you take away all the parameters, what do you make?" she told Paul McCartney in a November (opens in a new tab)Rolling Stone(opens in a new tab) interview(opens in a new tab). "And I guess the answer is folklore."

Even if she hasn’t been making indie music herself, Swift has shown an affinity for the genre over the years through curated digital playlists(opens in a new tab). Those included four songs by The National including "Dark Side of the Gym," which she references on folklore single "betty(opens in a new tab)," and "8 (Circle)" by Bon Iver, Swift's collaborator on folklore's gut-wrenching "exile(opens in a new tab)" as well as evermore’s title track. (“Exile” is one of folklore’s GRAMMY-nominated cuts, up for Best Pop Duo/Group Performance.)

The National’s guitarist Aaron Dessner co-wrote nine and produced 11 of folklore's 16 tracks, soundtracking Swift's imaginative tales with sweeping orchestration and delicate piano. Their partnership started with "cardigan(opens in a new tab)," a melancholy take on teenage love(opens in a new tab) that's up for Best Pop Solo Performance and the coveted Song of the Year. The team-up was a dream come true for Swift, a self-proclaimed National superfan and a career highlight for Dessner, who shared in an Instagram post(opens in a new tab) about folklore that he's "rarely been so inspired by someone." He sees the album as a pivotal moment for both Swift's career and pop music.

"Taylor has opened the door for artists to not feel pressure to have 'the bop,'" Dessner shared with (opens in a new tab)Billboard(opens in a new tab) in September. "To make the record that she made, while running against what is programmed in radio at the highest levels of pop music—she has kind of made an anti-pop record. And to have it be one of the most, if not the most, successful commercial releases of the year that throws the playbook out.

"I hope it gives other artists, especially lesser-known or more independent artists, a chance at the mainstream," he continued. "Maybe radio will realize that music doesn't have to sound as pushed as it has. Nobody was trying to design anything to be a hit. Obviously, Taylor has the privilege of already having a very large and dedicated audience, but I do feel like it's having a resonance beyond that."

Swift's other primary folklore collaborator was Jack Antonoff. He has been her right-hand man since they first paired up on 2013's promotional single "Sweeter Than Fiction(opens in a new tab)" (Swift referred to him as "musical family" in her folklore announcement(opens in a new tab)). Even after years of creating stadium-ready pop smashes, Antonoff said in his own folklore Instagram post(opens in a new tab), "I've never heard Taylor sing better in my life / write better."

As Swift recognizes herself, folklore ushered in a new way of thinking for the superstar that not only brings out her best, but sets a promising precedent for what's to come. "What I felt after we put out folklore was, 'Oh wow, people are into this too, this thing that feels really good for my life and my creativity,'" Swift added in her interview with Lowe. "I saw a lane for my future that was a real breakthrough moment of excitement and happiness."

Her enthusiasm is tangible on both folklore and evermore. Dubbed folklore’s sister record, evermore further expands Swift’s newfound mystical atmosphere. Much to the delight of many Swifties, the follow-up also calls back to her country beginnings on tracks like the HAIM-assisted “no body, no crime(opens in a new tab),” as well as her pop expertise on more uptempo cuts like “long story short(opens in a new tab).”

Together, the albums are a momentous reminder that Swift is a singer/songwriter first. Her wordcraft is some of the most alluring of her generation, and that’s never been lost on her music, regardless of the genre she’s exploring. But now that Swift also feels she's at her best, it’s evident folklore was just the beginning of Taylor Swift in her finest form.

#taylor swift #folklore #Grammy #WOW

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maggyoutthere · 4 years ago

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It's funny how I'm actually putting effort on this. I'm putting actual effort on a shitpost.

Anyways I said I'd write a bad sonic creepypasta so here it is. Here's the catch: I like how its turning out so imma make it a 2-pary story. This is the first part. It doesn't have any scary shit but it has the basics for a shitty creepypasta: someone gets a old pirated/unreleased/defective game and tries them out despite getting warned that bad shit might happen.

Again I'm not a fluent English speaker so expect some grammar error and stuff like that ._.,

So ladies, gentlemen and non-bis, I present to you-

Sonic: Battle of Metal and Blood (Part 1)

Synopsis: Teen gets nostalgic mid-quarentine and starts playing old Sonic games. She asks for some cheat codes and shit happens.

So for context; I'm a 17 year old girl stuck home because of quarantine.

It had been 4 or 5 months since the virus sent everyone home. Students were playing Animal Crossing and DOOM all day to fill in the summer hours since no one could go outside. I never liked going to the beach so I was never really bothered by it.

Like many people, I found myself going back in time to easier phases of my life. I was rewatching old cartoon shows from my childhood, getting into MCR and P!ATD and just living in pure nostalgia. I also started getting into gaming again, even going to the point of setting up my Wii again just to play Epic Mickey, but I didn't exactly grow up with the Wii. I was more of a Playstation kid, so much that me and my bro got a Playstation 2 from our cousin when he eventually bought the 3rd one for himself.

My cousin was older than us; I remember him being 16 or 17 when I was like 12, so he was kind of our gaming hero. If there was a level in Crash Bandicoot we couldn't beat, we'd call my cousin and he'd do it in 15 minutes. He knew all the cheat codes, all the secret levels and extra content for the games he had; he was like a genius to me and my lil bro, so when he gave us his old Playstation 2 and games me and my sibling knew we were in for a treat.

We got this Sonic Gems Collection for the Playstation 2 from him. It's like a port of various older Sonic games like Sonic CD, Sonic The Fighters, Sonic R and so on. I grew up playing that game, especially Sonic The Fighters since I wasn't very good at the racing games.

I still had a working controller and a lot of free time so I asked my bro for help setting up the console. The thing was so dusty I was actually scared it wasn't going to work. We clicked the power button and the light on the console turned on. Me and my brother held our breaths as we put the DVD in the console and crossed our fingers. As the screen lit up with the SEGA logo and music started playing, I just hugged him and cheered. He set up the console in my room so I could play without having to go to his room (he was the one keeping all the electronic stuff) and told me to have fun.

I didn't even know where to start. There was so much I wanted to play now that I actually knew what I was doing. I thought about starting with my favourite one out of the bunch: Sonic CD. I'm a sucker for the retro 2D pixel games so that was a must. It was better than what I remembered; the music was so catchy and the art style was vibrant and it stood out from a lot of games nowadays that go for a washed out "hyper realistic" look.

As I kept playing, I eventually reached the level where Amy tags along with Sonic for a while before Metal Sonic bursts through a wall and kidnaps her. Oh yeah, Metal Sonic was a thing. I remembered him from Sonic R and Sonic The Fighters - and the fact he was in the fucking cover art of the DVD case. I absolutely loved the fucker in the games though. He had a cool design, and the idea of the villain being a copy of the hero gone wrong was so interesting to me at the time.

I ended up passing the level and even making it to Stardust Speedway. I was sweating since I'd never come this far at any game. My bro was there cheering me as I tried not falling on spikes or getting hit by Metal Sonic's attacks. I ended up making it till the end on top, but it was kinda sad seeing Metal crash face-first against the door like that.

I was done with that for a while, so I went ahead and played Sonic R and Sonic The Fighters for nostalgia. Again, the fucker was there, either as a boss or as an unlockable character. I ended up noticing how there were a bunch of games missing. There were empty grayed slots with question marks instead of the game titles. I couldn't understand if the game was broken or if there was something I was supposed to do, so I called my cousin in hope he would somewhat tell me what to do. He ended up explaining how the game made you complete all the other games to unlock new ones. I thought that was kinda stupid so I asked him if he had any cheat codes or something to make the whole thing available. He told me he was going to dig up his old stuff and ring me again if he found anything.

A few hours later, he sent me a message telling me he'd found something that should work. He told me he did have a cheat code but he thought it was best if I didn't do it. Here's the transcript from his message.

"There's something that might work but it's kinda weird. I got this memory card from a friend of mine and he said this should unlock all the hidden contents within the disc, but when I tried it some weird shit started happening. Most of the sonic games were unplayable no matter how many times I restarted the console or cleaned the disc. There should be an extra game slot but that's just a glitch. Something about the system trying to make up storage for the extra code. Just don't click on anything that looks like a glitch and you should be golden"

Well that was a bit discouraging, but we agreed to meet that afternoon so he could give me the memory card.

When I got home and plugged the cartridge into the slot on the console, I was kinda scared. What if the thing exploded or something? I gave it a try and the thing actually worked! As I clicked on the games section, everything was there! There were some vectorman games but I didn't know who that was at the time so I didn't really care about them. What I was more interested in was the museum. There were a bunch of unlockable promotional art and illustrations there that I never got to see as a kid, so you could imagine how joyful I was when I saw the museum section filled with pages upon pages of illustrations and renderings of the games. Some of them weren't even on the Gems Collection like some screenshots of Sonic Heroes.

I went back on the game menu and was surprised to see another game entry below all the vectorman ones. It was called "Sonic: Battle of Metal and Blood". What the hell was this? It surely wasn't in the cover art and a quick google search turned up nothing. Was it a glitch? It couldn't be; it looked too clean and intentionally made to be a glitch, not to mention that whole game titles don't just appear out of thin air. Game or not, something was programmed in there. I concluded it was probably someone's fan project that was in the memory card my cousin gave me. Why hadn't he mentioned it though?

I was too curious to turn down a mystery like this one, so I got up first to make a cup of coffee since it was already getting late. As I returned from the kitchen, I remembered to look at the synopsis of the game. I can't remember exactly what it said but it was something along the lines of:

"In this sequel to the famous Sonic CD, step in the shoes of Sonic's friends as they face their biggest challenge yet. Control Amy Rose and Miles "Tails" Prower and fight against the metallic faker himself, Metal Sonic, and stop him before he puts his plan to become the only Sonic in action"

Woah, that sounded exciting; I wasted no time. I got all cozy, kept my cup of coffee next to me

And pressed START.

To be continued in part 2

#sth #sonic #sonic the hedgehog #creepypasta #creepy story #short story #sonic gems collection #sonic: battle of metal and blood #battle of metal and blood #maggy moment #shhh i actually like how its turning out #i'm not that good at writing but this is the best i've written in a while

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robotnik-mun · 5 years ago

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So, what happens when I decide to throw caution to the wind and mash together as many fucking Sonic Continuities as I possibly can? You get a big ass tangle of a family tree that needs to be split up into five separate images, that’s what.

It’s ugly, it’s unpolished, and I made it on a whim. Because the mental image wouldn’t leave me. And because I actually started developing this godforsaken nightmare of a family tree, born of merged continuities, headcanons, and sleep deprivation.

Now keep in mind that this thing is pure crack- it implies a world where Sonic eventually collapses from exhaustion of having to fight TWO Robotniks. It’s a mish mash of what-if’s, continuity mergers and personal ideas glued together. And I wanna stress it has nothing to directly do with my current setting- this is just like, The Path of Insanity.

Anyway, yeah. Against my better judgement I made notes for this insanity. Also, you may notice pictures of characters from other franchises being used as portraits for various characters. Those are basically faceclaims of sorts, meant as abstract representations rather than the literal idea of what they looked like... since, honestly, even I’M not cruel enough to inflict my ‘art’ on you.

Anyway, let’s get the ball rolling-

“Robotnikhotep”

-Robotnik Ancestor in ‘Mobigypt’. Was probably some big important muckity-muck.

“Julius Robotnikus”

-Probably Mobius’ answer to Caligula. His family eventually fell out of power and was forced to re-settle in what would eventually become Overland.

Ivo Kintobor

-Yeah, that whole ‘House of Ivo’ thing? This is the guy responsible. Most likely a douchenozzle, as there is a high concentration of that in the bloodline. Basically a minor warlord who unified a bunch of clans to form his own Kingdom, that was subsequently absorbed into Overland during the unification.

Brutus Kintobor

-Oh wow, a SKINNY Robotnik/Kintobor. This douche canoe attempted to conquer Angel Island for the Overland, but failed miserably. Sent back home in disgrace, a failure.

Gerald Robotnik

- Originally born Gerald Kintobor of the House of Ivo in Overland. He was more interested in science than politics, and after completing college he left that mess behind and immigrated to the United Federation. He changed his name to signify the break from his family history.

-Explored Angel Island in his youth, where he learned about Chaos Emeralds and the like from the various ruins there. He was even friends with then-guardian Janelle-Li.

-Started up Robotnik CORPS. He founded it as a way to disseminate his technology to the people of the UF and earn money to fund more experiments.

-You know the rest. The ARK, Maria, NIDS, Black Doom, Shadow, yadda-yadda-yadda.

Olga Robotnik

-Gerald’s wife. Duh.

-She met him while he lived in a spare room her father was renting out. She’d collect his rent. They grew close and eventually had kids and started a family.

-The shit this poor woman endured is amazing, but she managed to remain unbroken by it, and tried to remain close to her surviving grandchildren.

Grigory Robotnik

- The first son of Gerald. He wasn’t a genius, but he pursued a career in academics and became a doctor of physics. He had two children, Warren and Maria.

-After the ARK incident he became paranoid and accused the government of covering up what really happened. The obsession to uncover the truth destroyed his physical and mental health, and he died a shunned outcast ranting on pirated radio stations about various conspiracies.

-Died in a halfway house, but he managed to get ahold of Gerald’s diary before biting it. While he never got to use it to bring down GUN, it still paved the way for Eggman’s eventual use.

Amelia Robotnik

-Maria’s mother. After the ARK incident and the supposed death of her children, she fell into a deep depression and eventually committed suicide. In case you haven’t noticed, the story of the Robotnik family is depressing as fuck.

Warren Robotnik, ‘Warpnik’

-Maria’s brother. What a tweest!

-He was with her on the ARK, and demonstrated a similar scientific gift to his grandfather. He wasn’t close to Shadow the way Maria was.

-When the ARK was raided, he was captured and subjected to brainwashing treatments by GUN in the hopes of turning him into a loyal, in-house mad scientist. All it did was make him batshit crazy.

-He escaped some time during the Great War, and is now loose in Mobius, a lunatic geneticist fixated on continuing his grandfather’s ‘great work’... or at least his own warped perception of it.

Maria Robotnik

-You know her. You love her. Her life is a tragedy. She’s Maria! Nuff said. Years later, and she still weighs heavily on Shadow.

Ivo Kintobor

-And here is where things get a bit confusing! Ivo was born ‘Ivo Robotnik’, the second son of Gerald. Long story short, he was a douche more interested in politics and profit, and as such did not get along with his father, who bequeathed the family company to his younger brother.

-Despite this, Ivo SOMEHOW managed to reproduce. And when the ARK incident happened, he bought the government line hook line and sinker. He changed the family name back to Kintobor and moved everyone back to Overland to start anew.

-He’s like 50% responsible for Julian winding up the way he did.

-And yes- he DOES want to bulldoze the puppy orphanage to create a combination oil rig/toxic waste dump.

-Was murdered by Julian, who disguised it as an accident.

Lydia Kintobor

-ICE BABY ICE.

-Julian and Colin’s mom.

-She 100% supported her husband’s douchery, and was an active participant in tormenting her secondborn son in the hopes of ‘breaking’ him out of being a genius.

-Killed in the same ‘accident’ that took her husband’s life.

Colin Kintobor Sr.

-Born in the United Federation, but moved to the Overland as a child and grew up there.

-Major league Nationalist and Human Supremacist. Prick.

-Hated Julian basically forever and was encouraged by his parents to do so. He became their ‘golden child’ and was pushed to succeed at everything.

-Pursued a career in politics, law, and the military, and eventually served as a general in the Great War.

-Was eventually murdered by his own brother

Miriam Kintobor

-Colin’s first wife, via arranged marriage.

-She was pretty much his opposite, yet despite that fact the two came to genuinely love one another.

-Died giving birth to their son. Have I mentioned the Kintobor/Robotnik family history is a trainwreck yet?

Angela Kintobor

-The second wife of Colin. She probably met him while serving as a military functionary during the Great War. She is also the mother of Hope Kintobor.

-Other than that, I got nothin’. She likely died when Hope was young, by way of Swatbot invasion. Seriously, do NOT become a Kintobor Love Interest.

Colin “Snively” Kintobor Jr.

-You know him, you hate him! It’s the Snivster, bay-bee!

-His mother died giving birth to him. His dad blamed him for this. You can guess the rest.

-You know most of the story- crappy childhood, admired his uncle Julian, helped him take over the Kingdom of Acorn, spent a decade as his punching bag, etc etc.

-After seemingly offing Julian during Endgame, he briefly took over the Robotnik Empire.... and promptly lost it to Naugus, forcing him to flee for his life. In exchange for information about Robotropolis’ defenses, King Acorn spared his life but sentenced him to be imprisoned forever.

-Was busted out by a returned Julian so that his uncle would be able to properly ‘thank’ him for losing his empire. Helped the FFs to escape Robotnik’s revenge, and after spending time bumming around with them (and hating it) decided to throw in his lot with Crazy Uncle Ivo.

-He’s regretted it ever since... though he sticks with him because its either Ivo or Julian, and Julian will ensure his death is cruel, messy, and lingers for years to come.

Hope Kintobor

-The second child of Colin Kintobor. She was born during the later years of the Great War and spent much of her early life living in siege conditions as Overland tried and failed to stop the advancement of Robotnik.

-Eventually she witnessed the death of her father and remaining family at the hands of Robotnik before being saved by Sonic. She had an extended stay in Knothole afterwards, where she slowly learned that much of her people’s views of Mobians was innacurate.

-She eventually moved to the United Federation as a ward of GUN, serving as the technology expert for Team Dark. She is close to all of them.

-Seeks to redeem the name of her family so that it’s legacy won’t be one of bloodshed, conquest and madness. She’s got a waaaays to go, to put it mildlry.

-Despite everything she still cares about her awful, awful half-brother.

Dr. Julian Robotnik

-Had a REALLY goddamned crappy....well, life, basically. Take my word for it.

-Has basically murdered his entire immediate family by this point.

-Prior to the Great War he aided the Overlander Ministry of Conflict in toppling the legitimate government of the Kingdom of Amunopolis (Aleena’s Kingdom), forcing it’s royal family to flee to the Kingdom of Acorn and re-settle under new identities, with crown princess becoming ‘Bernadette Hedgehog’. That’s right- he’s indirectly responsible for Sonic existing.

-Blah blah blah evil experiments blah blah war crimes blah blah sentenced to be executed by Overlander government during the Great War and blah blah blah coup.

-Took over a large swathe of Mobius and expanded to conquer more, and for a time seemed like he might conquer the entire planet. The Robotnik Empire is.... not a fun place. Then or now.

-Then Sonic and the FF’s happened. Then Endgame happened, and he was... indisposed for a while, leading to his empire being diminished. While he has returned, he has suffered numerous setbacks since then, and the Robotnik Empire is now greatly diminished from its peak.

-That being said, he still rules a pretty big part of the planet, and is still the biggest danger to the world at present.

-Hates his cousin Ivo.

-REALLY goddamn hates That Hedgehog.

Laura Kintobor

-That’s Doctor Laura Kintobor (nee Ellison) to you, buster.

-She and Julian both worked as scientists with Overland’s science ministry, where they met and befriended one another. She eventually managed to coax Julian out of his shell, and their friendship bloomed into a romance, which led to the two marrying.

-She worked in the organic sciences division and was an expert on biology and zoology. In contrast to most scientists, she was very much an outdoorswoman. Even managed to convince Julian to partake.

-Much like her unfortunate sister-in-law, she died in childbirth... giving birth to a stillborn daughter.

-Yeah, this shit is grim.

Theodore Robotnik

-Third son of Gerald. Blatantly named in reference to Theodore Roosevelt, who was used as a visual reference for Eggman.

-Basically a professional beancounter who later inherited Robotnik CORPS. He chose to stick with his original name even after the ARK incident, and struggled to keep Robotnik CORPS afloat in the immediate aftermath of the incident.

-Set up a trust fund for his son Ivo, and tried his best to raise him to be a contributing member of society.

-Sufficed to say, that didn’t work. If he’s still alive, he has a REALLY tense relationship with his son.

-Named his son after his older brother as a passive-aggressive act of spite for abandoning the ‘Robotnik’ name.

Dolores Robotnik

-Mother of Ivo. She was a professor of chemistry who decided to put her career on hold in order to be homemaker.

-Was much closer to her son than Theodore was, and often wound up having to play peacemaker between the two. ESPECIALLY during Ivo’s tumultous teenage years.

-Sufficed to say she is not exactly pleased with how he turned out, assuming she’s still alive even.

Dr. Ivo “Eggman” Robotnik

-HE IS THE EGGMAN. HE’S GOT THE MASTER PLAN! Really, do you NEED to know any more?

-Well, okay, you do. He was born very shortly before the ARK incident and never knew his grandfather.

-His childhood wasn’t horrible, but it was rough in areas due to his high intelligence making things more difficult for him than they should of be. Loads of disagreements with his dad over pursuing science. Spent years plagued by the derogatory name of ‘Eggman’ due to his weight problems.

-You know how you fantasize about ruling the world as a kid? He never really left that stage of things.

-He initially worked as a research scientist in the fields of AI and energy. During the Great War he was approached by GUN to develop weapons for them. His research would go on to form the basis of the robotic soldiers later used by them in the Robotnik war.

-Began his plot to take over Mobius during his time there, and secretly began to appropriate resources and machines to build a hidden base on the distant South Island. Eventually his schemes were discovered by GUN, but he fled.

-While his cousin conquered portions of Mobius elsewhere, Eggman began his long term Death Egg scheme as a means of conquering Mobius in one fell swoop with the aid of the Chaos Emeralds.

-You can guess how it goes from here- he encounters Sonic on South Island and in the Scrap Brain Zone and is defeated, thus setting the tone for MANY other defeats in the future. He eventually took on the name ‘Dr. Eggman’ as a way to differentiate himself from his cousin, and to make the insult that dogged his life into a name to be feared ala ‘Penguin’.

-When his cousin Julian was seemingly killed and the Robotnik Empire in dissarray, Eggman started new bids to take over the world. He established the Metropolis Zone as his ‘capital city’ and founded the Egg Army to help supplement his Badnik Horde. The Eggman Empire now exists as a terrorist army at the beck and call of Dr. Eggman, though he’s still got a ways to go.

-Has four sons by three different women. Slut.

???

-Haven’t got a name for her yet. She was a random girl that a college age Ivo knocked up, which putty much put an end to her collegiate ambitions. She gave birth to two sons, one of whom she bitterly named ‘Ivan’ as a reminder of his origins after failing to get child support out of her babydaddy. She re-married and is currently leading a comfortable enough life. Humors her son because she knows it annoys his biological father.

Ivan Eggman

-The oldest of Eggman’s sons. In his mid 30s or so. Scientifically gifted, as his father was.

-Has numerous, numerous issues pertaining to his stepfather, a hard and strict man with little toleration for nonsense.

-Idolizes his biological father and desperately wants to be acknowledged by him, even changing his original surname to ‘Eggman’. Eggman the 1st was NOT amused.

-Eventually founded a company, Eggman Industries, and grew rich rapidly. Settled by the Bygone Islands where he pursues life as a ‘villain’ now, though really he’s more like a public nuisance than anything.

-Honestly he’s basically living a ‘second childhood’ of sorts using his scientific know-how and riches, and has vowed to one day impress his father and earn his acknowledgement. As you can imagine, it is.... not working out at all, given that he’s even more of a goober than his pop.

-Ironically, he isn’t naturally bald- he SHAVES his head.

Steve

-Yeah, he ain’t a robot here- Steve is the organic, younger (by about a minute) twin brother of Ivan.

-Utterly unconcerned with science or any of that jazz. He’s basically a bohemian beach bum, complete with californian accent- he spends much of his time surfing and earning cash from side jobs.

-Really mellow and easy-going, and doesn’t really dwell on stuff.

-Utter himbo.

Mrs. Robotnik

- Ex-Wife of Ivo Robotnik. Haven’t given it too much thought, but she and Ivo met while working in acadamia, and eventually married.

-Initially the relationship was pretty solid, and they even had a child together. However things swiftly deteriorated between the two as Ivo’s immaturity and increasing anger at the world strained their relationship, along with him being a lousy parent to their son. She eventually divorced his ass.

-After going through a rough patch with her son, she has begun to re-connect with him after his years a delinquent, and now happily supports his endeavors.

Ivo Robotnik Jr.

-Middle son of Dr. Eggman. Had a nonexistant relationship with his father while growing up, which combined with the divorce eventually turned him into a juvenile delinquent.

-He roamed with a biker gang for a while, and prefers to be called ‘Junior’ rather than ‘Ivo’.

-Fell in with Breezie for a while, the both of them unaware of the other’s connection to Eggman. They eventually went their separate ways once Junior began to turn over a new leaf. He still carries a torch for her, though is painfully aware it’d never work out. Their relationship is... complicated, these days.

-Has since become a software security engineer, making a living providing Anti-Eggman/Robotnik software to companies.

Lindsey Thorndyke

-A famed actress. She and Ivo had a drunken tryst at a wrap party where he’d been invited to act as a consultant on scientific accuracy. To avoid scandal she informed her husband, and they passed off the baby as their own.

-What more do you want. Its LINDSEY.

Chris Thorndyke

-The youngest son of Ivo Robotnik. Spent much of his life completely unaware of his true parentage.

-Eh, what can I say, I kind like the theory of him actually being a Robotnik in some capacity or the next.

-When he was a boy, he befriended Sonic and his friends and even hosted them during the days when Eggman’s schemes for global conquest caused him to haunt Station Square for a while.

-Admired his grandfather Chuck and pursued science to be like him, studying physics and engineering.

-Thanks to his mom he’s something of a film buff.

-In college he learned the truth of his heritage. This has put a strain on his relationship with his parents.

Francis Kintobor

-The youngest of Gerald’s sons. Pursued a career as a schoolteacher. While he changed his name in the aftermath of the ARK incident as his older brother Ivo had, he chose to make a small joke at his brother’s expense over the ludicrousness of the name change by naming his own son ‘Ovi Kintobor’.

-Named after Francis Mao, aka That Guy Who Made That One Comic Adaptation From 1991.

Elizabeth Kintobor

-Dr. Ovi Kintobor’s mother. A career veterinarian with a strong love of animals. That’s about it.

Ovi Kintobor

- Grew up on Westside Island, among Mobians. Had a pretty happy and contented childhood, and like many of the other various members of the Kintobor/Robotnik clan developed a pronounced interest and skill in science at a young age.

-Developed a particular interest in researching Chaos Emeralds.

-A Concientious Objector, he served as a medic during the Great War.

-Deeply, deeply shamed by the actions of his more notorious cousins, he has essentially hidden himself from the world to pursue his research and evade their notice, while helping against them in whatever way he can.

-Has secretly transported people threatened by his cousins to safer places, and once caused a mass sabotage of their respective robotic forces through the ‘Nicenik Virus’.

-An ally of the Freedom Fighters.

-Deeply distrusts GUN (which frankly isn’t a bad call).

-Bit of a hippy, but really is a genuinely nice guy who wants to help others through science.

-In some villages he is known as ‘Mr. Tinker’.

#Sonic the Hedgehog #Dr. Robotnik #Dr. Eggman #Colin Kintobor #Chris Thorndyke #Gerald Robotnik #Hope Kintobor #Snively #Warpnik #Maria Robotnik #Robotnik Junior #Boom Eggman #Steve Eggman #Robotnik Jr #Truly this was the best way to spend the finite thing known as my time on earth

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moviesrotbrains · 4 years ago

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DANIEL ISN’T REAL... but I’m so very glad this film exists.

After dealing with increasing anxiety and fearing a grip on reality, a college freshman turns to his childhood imaginary friend for comfort and confidence boosting… only to realize that his much cooler and carefree pretend buddy has an unsettling violent darkness about him. Could Daniel possibly be something more than a figment of his imagination?

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DANIEL ISN’T REAL is an utterly surreal fever dream, channeling the best in cosmic horror, body horror, and psychological horror while also taking a bold look at deeper issues. It comes from Elijah Wood’s SpectreVision imprint, the same company that gave us such gems as MANDY, A GIRL WALKS HOME ALONE AT NIGHT, and COLOR OUT OF SPACE... and this one’s right up there with those modern classics. And you can watch it now on SHUDDER!

Full review and some seriously kickass poster art below:

Directed by Adam Egypt Mortimer (and based on Brian DeLeeuw’s book, In This Way I Was Saved), DANIEL ISN’T REAL is a wonderfully fantastical ride through fucked up subject matter. It tackles mental illness, trauma, dual nature, identity, male toxicity, and empathy… with a good amount of Lovecraftian madness and trippy, yet terrifically disgusting Cronenberg-esque visuals thrown in for good measure.

It’s an engaging story too, about a young man, Luke, overwhelmed with life as his mother’s mental health condition worsens. He’s dealing with that on top of everything else college kids go through, lack of confidence, anxiety, etc. There’s also a fear of his own sanity. He keeps hallucinating and blanking out. His therapist suggests that maybe he should try to tap into that creativity he had as a child, where he’d regularly play for hours on end with his imaginary friend, “Daniel”. Only things got very weird and unsettling the last time he played pretend with his fictional playmate.

Once Daniel re-enters his life, things start to change. Luke’s mother issues get better. Luke suddenly feels more confident in life. Luke is finally doing well with girls. Luke’s getting creative again with photography... and all of his problems seem to go away… Only Daniel seems to want more credit and recognition. And Daniel seems to be getting angrier. And that’s when things get really fucking messed up.

This film is wonderfully acted by a mix of up-and-comers and veterans of the scene. Luke is played by Miles Robbins (HALLOWEEN 2018) and gives that immediate likeable and kind, yet also meek, portrayal that perfectly conveys what kind of a person that Luke is. There’s a lot of range in emotion in this performance, from hurt and confused to confident, to something else entirely. I always get a kick at seeing an actor completely flip their performance and style midway and totally embody something else, and this film has that and more.

Contrasting that likability and meekness is Daniel (played by Patrick Schwarzenegger, SCREAM QUEENS), the titular imaginary friend who’s pure Freudian Id. He’s cool, slick, charismatic, and always knows the right thing that Luke should say, or do, to get ahead. He’s helpful… when he wants to be… but he also has a lot of darkness. A scary darkness that seems to stem from… something else. Patrick excels when he taps into this dark alias. He’s evil as fuck. There’s a sinister glee in his manner. Epitome of “Chaotic Evil”. He’s such a great asshole. He really kicks it into gear when the audience fully know what we’re dealing with…

Yet even then, nothing is over explained. And that’s the beauty of this film. There is no expository dialogue or wasted scene. Everything is laid out there and the actors just bring it. This film lives in a world of it’s own and the audience is a passenger for the unholy ride. It’s a very slick flick full of world building and the kind of outstanding performances that really make everything shine.

Rounding out the supporting cast is Luke’s troubled mother (veteran Mary Stuart Masterson, who powerfully played a similar and memorable role in BENNY & JUNE), Sasha Lane (HELLBOY) as the love interest, artist, and really, the heart and soul of the film, and Hannah Marks (DIRK GENTLY) as the other girl faced with Luke’s dark side. again, all perfectly played and perfectly cast, giving a much needed balance in this heavy film.

And it’s a very heavy film. The story was a deeply personal one for Mortimer (as he explained to us in 2019, when he brought the film to the Montreal FANTASIA film fest). The director drew from his own experiences from his youth, when a friend was similarly dealing with mental health issues. Mortimer had to help him, because his friend was “falling off the rails”, with no one around really helping him out, “not friends or professionals”. He talked of his friend’s life being in ruins, and how it just “spiraled off into mania”.

That experience deeply impacted Mortimer. It was from this that Mortimer wanted to make a film about empathy and compassion for people going through severe mental illness issues. While Luke’s troubles stem from something more, the parallels are still there to people in real life going through non-otherworldy issues. The overall sense of helplessness, and a desire to be understood and taken seriously, is still there, and still a universal theme. Especially right now.

This film also tackles a lot more than just matters of wellness. Mortimer also wanted the film to deal with the “increasing danger” young men are in these days. “The Dangers they face and the danger many are to themselves”.

Mortimer talked about them, “Living in a world where men have been driven insane by society. A society where many men are both the product and the villain of it.” A lot of this is seen on film when Luke battles for control with Daniel. Daniel representing that alpha and that Id. Luke grasping for control and trying to be that voice of compassion and reason. It’s a wonderful character study that is only heightened by the horror elements that come into play.

And yes, it’s an absolute horror fan’s delight and it’s visually stunning to boot, mixing psychological & psychedelic horror together. It felt like I was watching HELLRAISER again for the first time, but if that film was shoved in a blender with FIGHT CLUB, JACOB’S LADDER, and copious amounts of mind altering drugs. But comparing it to anything else does no justice to the wholly original eye-gasmic feast set before us. I keep saying this, but it truly is an utterly wonderful surreal fever dream. It’s so very layered and out there.

It’s refreshing to see new films like this come about with something to say and looking as great as it does. Yes, this film looks very different from most things that are currently out there, with it’s violet texture throughout, and otherworldly feel. Mortimer, who came from a music video background, wanted his second feature to have a distinct look to it, saying that the “violet hue throughout had a very futuristic and contemporary colour about it”. He wanted to create the feeling of a manic episode, and overwhelm the viewer with colours and density.

And he totally does. It’s such a beautiful looking film, and one you’ll definitely go back to just to soak in the wonderful hypnotic visuals. Much like MANDY, from the year before, DANIEL is a cinematic treat for your eyeballs.

And there’s also some deeply messed up visuals that mix in with that beauty. The FX on a whole are amazingly bizarre. There are visuals that are so jaw-droppingly good that you’ll permanently have them etched in your brain. It’s the kind of film where you’re watching and you immediately want to rewind and see that scene again.

From faces being merged into each other in a pink tentacled mess of VIDEODROME-esque flesh, to other visages literally being mangled like putty! Pure body terror. People crawling into other people’s mouths– I could go on, but I don’t want to spoil it. It’s icky and wonderful all at once.

And I can’t go on about the FX without mentioning the nightmarish and hellish creature design by Martin Astles (who also worked on the brutal and classic nightmare fuel that is EVENT HORIZON). The creature FX are so fucking out there, each very distinct and very memorable. The kind of things that if you confronted them in real life you’d be quick to claw them out your own eyes.

One beast looks like a hellish death beast with a fleshy castle for a head-- an absolute architectural artifice. Mortimer said they attempted to convey that a whole universe was in its face, and it existed outside space and time. Another Face looking like piercing bullets poking through the flesh and protruding from his cheeks, like a moment frozen in time. They’re all so freakishly creative and disturbing. I can’t even describe them right. I’m not sure I want to, but they’re seared into my mind. Body Horror and Cosmic Horror at their best.

In addition to the visuals, this film also brings it on the sound design and score front. It’s got an incredible score by Warp Records act Clark. It contains synthy goodness along with manipulations of actual orchestral pieces. And it was Clark’s first time working on a film score, something Mortimer preferred.

He wanted someone that wasn’t used to working on horror films, or films in general, so they’d throw everything they had into it from the get go. Mortimer told Clark to make it sound like Bernard Herrmann got stuck in some horrible industrial accident. A relentless sonic assault that tries to capture that same feel that Clint Mansell did with REQUIEM FOR A DREAM. The results are a superb original work of music that completely enhances and already spectacular looking film.

I was a fan of Mortimer’s SOME KIND OF HATE when I caught it six years ago at FANTASIA FEST, but DANIEL is an entirely different beast and next level filmmaking. He’s easily grown as a filmmaker and I’m totally on board to see more. I can’t wait to see what he tackles next, because DANIEL was easily one of my top Fantasia picks for 2019.

DANIEL ISN’T REAL is one of those dark films that will most likely be seen as a cult classic in a few years, right up there with DONNIE DARKO and movies of a similar ilk. It’s full of so much imagination and gusto, all while tackling important issues and core themes. All that and it remains highly watchable and engaging. It’ll satisfy any horror junkie while also winning over fans of thought provoking art. Daniel isn’t real, but I’m glad it exists.

-Theo Radomski, Movies Rot Brains

Seriously how fucking awesome are these posters? Why can’t more horror films hire the people that made these posters? Why can’t film in general hire these people to make better promo art?

This article was previously seen on Mobtreal.com

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weekendwarriorblog · 4 years ago

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The Weekend Warrior 10/13/20: FREAKY, THE CLIMB, MANK, HILLBILLY ELEGY, AMMONITE, DREAMLAND, DOC-NYC and MUCH MORE!

It’s a pretty crazy week for new releases as I mentioned a few times over the past couple weeks, but it’s bound to happen as we get closer to the holiday movie season, which this year won’t include many movies in theaters, even though movie theaters are still open in many areas of the country… and closing in others. Sigh. Besides a few high-profile Netflix theatrical release, we also get movies starring Vince Vaughn, Margot Robbie, Kate Winslet, Saoirse Ronan, Mel Gibson and more offerings. In fact, I’ve somehow managed to write 12 (!!!!) reviews this week… yikes.

Before we get to the new movies, let’s look at a few series/festivals starting this week, including the always great documentary festival, DOC-NYC, which runs from November 11 through 19. A few of the docs I’ve already seen are (probably not surprisingly, if you know me) some of the music docs in the “Sonic Cinema” section, including Oliver Murray’s Ronnie’s, a film about legendary jazz musician and tenor sax player Ronnie Scott, whose London club Ronnie Scott’s Jazz Club has been one of the central cores for British jazz fans for many decades.

Alex Winter’s Zappa is a much more satisfying portrait of the avant-garde rocker than the doc Frank Zappa: In His Own Words from a few years back, but I was even more surprised by how much I enjoyed Julien Temple’s Crock of Gold: A Few Rounds with Shane MacGowan, because I’ve never really been a Pogues fan, but it’s highly entertaining as we learn about the chronically-soused frontman of the popular Irish band.

I haven’t seen Robert Yapkowitz and Richard Peete’s in My Own Time: A Portrait of Karen Dalton, a portrait of the blues and folk singer, yet, nor have I watched Marcia Jarmel and Ken Schneider’s Los Hermanos/The Brothers about two brother musicians separated from childhood after leaving their native Cuba, but I’ll try to get to both of them soon enough.

Outside of the realm of music docs is Ilinca Calugareanu’s A Cops and Robbers Story, which follows Corey Pegues from being a drug dealer and gang member to a celebrated deputy inspector within the NYPD. There’s also Nancy (The Loving Story) Buirski’s A Crime on the Bayou, the third part of the filmmaker’s trilogy about brave individuals in the Civil Rights era, this one about 19-year-old New Orleans fisherman Gary Duncan who tries to break up a fight between white and black teens at an integrated school and is arrested for assaulting a minor when merely touching a white boy’s arm.

Hao Wu’s 76 Days covers the length of Wuhan, China’s lockdown due to COVID-19, a very timely doc that will be released by MTV Documentary Films via virtual cinema on December 4. It’s one of DOC-NYC’s features on its annual Short List, which includes Boys State, Collective, The Fight, On the Record, and ten others that will vie for juried categories.

IFC Films’ Dear Santa, the new film from Dana Nachman, director of the wonderful Pick of the Litter, will follow its Heartland Film Festival debut with a run at COD-NYC before its own December 4 release. The latter is about the USPS’s “Operation Santa” program that receives hundreds of thousands of letters to Santa every year and employees thousands of volunteers to help make the wishes of these kids come true.

Basically, there’s a LOT of stuff to see at DOC-NYC, and while most of the movies haven’t been released publicly outside festivals yet, a lot of these movies will be part of the doc conversations of 2020. DOC-NYC gives the chance for people across the United States to see a lot of great docs months before anyone else, so take advantage of some of their ticket packs to save some money over the normal $12 per ticket price. The $199 price for an All Access Film Pass also isn’t a bad deal if you have enough time to watch the hundreds of DOC-NYC offerings. (Sadly, I never do, yet I’m still a little bummed to miss the 10Am press screenings at IFC Center that keeps me off the streets… or in this case, sitting on my ass at home.)

Not to be outdone by the presence of DOC-NYC, Film at Lincoln Center is kicking off its OWN seventh annual “Art of the Real” doc series, which has a bit of overlap by running from November 13 to 26. I really don’t know a lot about the documentaries being shown as part of this program, presented with Mubi and The New York Times, but check this out. For just 50 bucks, you can get an all-access pass to all 17 films, which you can casually watch at home over the two weeks of the fest.

Okay, let’s get to some theatrical releases, and the one I’ve been anticipating the most (also the one getting the widest release) is Christopher Landon’s FREAKY from Blumhouse and Universal Pictures. It stars Kathryn Newton as Millie Kessler, a high school outcast who is constantly picked on, but one night, she ends up encountering the serial killer known as the “Blissfield Butcher” (Vince Vaughn), but instead of dying when she’s stabbed with a ritual blade. The next morning Millie and the Butcher wake up to discover that they’ve been transported into the body of the other. Oh, it’s Friday the 13th… oh, now I get it… Freaky Friday!

Landon is best known for writing many of the Paranormal Activity sequels and directing Paranormal Activity: The Marked Ones. Msore importantly, he directed Happy Death Day and its sequel Happy Death Day 2 U, two of my favorite Blumhouse movies, because they so successfully mix horror with comedy, which is so hard to do. That’s what Freaky is all about, too, and it’s even harder this time even though Freaky has way more gruesome and gory kills than anything in Landon’s other films. Heck, many of the kills are gorier than the most recent Halloween from Blumhouse, and it’s a little shocking when you’re laughing so hard at times.

Landon does some clever things with what’s essentially a one-joke premise of a killer in a teen girl’s body and vice versa, but like the Lindsay Lohan-Jamie Lee Curtis remake from 2003, it’s all about the talent of the two main actors to pull off the rather intricate nature of playing humor without losing the seriousness of the horror element.

It may not be too surprising with Vaughn, who made a ton of dramas and thrillers before turning to comedy. (Does everyone remember that he played Norman Bates in Gus Van Sant’s remake of Psycho and also starred in thrillers The Cell and Domestic Disturbance?) Newton is a bit more of an unknown quantity, but as soon as Tillie dawns the red leather jacket, you know that she can use her newly found homicidal attitude to get some revenge on those who have been terrible to her.

In some ways, the comedy aspects of Freaky win out over the horror but no horror fan will be disappointed by the amount of gory kills and how well the laughs emerge from a decent horror flick. Freaky seems like the kind of movie that Wes Craven would have loved.

I’m delighted to say that this week’s “Featured Flick” is Michael Angelo Covino and Kyle Marvin’s indie comedy THE CLIMB (Sony Pictures Classics), a movie that I have seen no less than three times this year, first when it was playing Sundance, a few months later when it was supposed to open in March… and then again last week! And you know what? I enjoyed it just as much every single time. It’s an amazing two-hander that stars Covino and Marvin as best friends Mike and Kyle, who have a falling out over the former sleeping with the latter’s fiancé, and it just gets funnier and funnier as the friends fight and Kyle gets engaged to Marisa (Gayle Rankin from GLOW) who hates Mike. Can this friendship possibly survive?

I really had no idea what to expect the first time I saw The Climb at the Sony Screening Room, but it was obviously going to be a very different movie for Sony Pictures Classics, who had started out the year with so many great films before theaters shut down. (Unfortunately, they may have waited too long on this one as theaters seem to be shutting down again even while NYC and L.A. have yet to reopen them. Still, I think this would be just as much fun in a drive-in.)

The movie starts with a long, extended scene of the two leads riding bikes on a steep mountain in France, talking to each other as Kyle (once the athlete of the duo) has fallen out of shape. During the conversation, Mike admits to having slept with Kyle’s fiancé Ava (Judith Godréche) and things turn hostile between the two. We then get the first big jump in time as we’re now at the funeral for Ava, who actually had been married to Mike. Kyle eventually moves on and begins a relationship with his high school sweetheart Marisa, who we meet at the Thanksgiving gathering for Kyle’s extended family. In both these cases, we see how the relationship between Mike and Kyle has changed/evolved as Mike has now fallen on hard times.

It's a little hard to explain why what’s essentially a “slice of life” movie can be so funny. On one hand, The Climb might be the type of movie we might see from Mike Leigh, but Covino and Marvin find a way to make everything funny and also quite eccentric in terms of how some of the segments begin and end. Technically, it’s also an impressive feat with the number of amazing single shot sequences and how smooth some of the transitions work. It’s actually interesting to see when and how the filmmakers decide to return to the lives of their subjects – think of it a bit like Michael Apted’s “Up” series of docs but covering a lot shorter span in time.

Most importantly, The Climb has such a unique tone and feel to other indie dramedies we’ve seen, as the duo seem to be influenced more by European cinema than American indies. Personally, I think a better title for The Climb might have been “Frenemied,” but even with the movie’s fairly innocuous title, you will not forget the experience watching this entertaining film anytime soon.

Maybe this should be called “Netflix week,” because the streamer is releasing a number of high-profile movies into theaters and on the streaming service. Definitely one of the more anticipated movies of the year is David Fincher’s MANK, which will get a theatrical release this week and then stream on Netflix starting December 4.

It stars Gary Oldman as Herman Mankiewicz, the Hollywood screenwriter who has allowed himself to succumb to alcoholism but has been hired by Orson Welles (Tom Burke) to write his next movie, Citizen Kane, working with a personal secretary Rita Alexander (played by Lily Collins). His story is told through his interactions with media mogul William Hearst (Charles Dance) and relationship with actress and Hearst ingenue and mistress, Marion Davies (Amanda Seyfried).

It I were asked to pick one director who is my absolute favorite, Fincher would probably be in my top 5 because he’s had such an illustrious and varied career of movie styles, and Mank continues that tradition as Fincher pays tribute to old Hollywood and specifically the work of Orson Welles in every frame of this biopic that’s actually more about the troubled writer of Citizen Kane who was able to absorb everything happening in his own Hollywood circles and apply them to the script.

More than anything, Mank feels like a movie for people who love old Hollywood and inside Hollywood stories, and maybe even those who may already know about the making of Welles’ highly-regarded film might find a few new things to appreciate. I particularly enjoyed Mankiewicz’s relationships with the women around him, including his wife “Poor Sarah,” played by Tuppence Middleton, Collins’ Rita, and of course, Seyfried’s absolutely radiant performance as Davies. Maybe I would have appreciated the line-up of known names and characters like studio head Louis B Mayer and others, if more of them had any sort of effect on the story and weren’t just

The film perfectly captures the dynamic of the time and place as Mank is frequently the only honest voice in a sea of brown nosers and yes-men. Maybe I would have enjoyed Oldman’s performance more if everything that comes out of Mankiewicz’s mouth wasn’t an all-too-clever quip.

The film really hits a high point after a friend of Mank’s commits suicide and how that adds to the writer’s woes about not being able to save him. The film’s last act involves Mank dealing with the repercussions after the word gets out that Citizen Kane is indeed about Hearst.

Overall, Mank is a movie that’s hard to really dig into, and like some of Fincher’s previous work, it tends to be devoid of emotion. Even Fincher’s decision to be clever by including cigarette burns to represent Mank’s “reels” – something explained by Brad Pitt in Fight Club – just drives home the point that Mank is deliberately Fincher’s most meta movie to date.

You can also read my technical/crafts review of Mank over at Below the Line.

Ron Howard’s adaptation of JD Vance’s bestselling memoir HILLBILLY ELEGY will be released by Netflix into theaters ahead of its streaming debut on November 24. It stars Amy Adams and Glenn Close, but in honesty, it’s about JD Vance, you know, the guy who wrote the memoir. The film follows his younger years (as played by Owen Asztalos) while dealing with a dysfunctional white trash family in Middletown, Ohio, dealing with his headstrong Mamaw (Close) and abusive mother dealing with drug addiction (Adams). Later in life, while studying at Yale (and played by Gabriel Basso), he has to return to his Ohio roots to deal with his mother’s growing addiction that forces him to come to terms with his past.

I’m a bit of a Ron Howard stan – some might even say “an apologist” – and there’s no denying that Hillbilly Elegy puts him the closest to A Beautiful Mind territory than he’s been in quite some time. That doesn’t mean that this movie is perfect, nor that I would consider it one of his better movies, though. I went into the movie not knowing a thing about JD Vance or his memoir but after the first reviews came out, I was a little shocked how many of them immediately went political, because there’s absolutely nothing resembling politics in the film.

It is essentially an adaptation of a memoir, dealing with JD Vance’s childhood but then also the past that led his mother and grandmother down the paths that made his family so dysfunctional. I particularly enjoyed the relationship between the older Vance and his future wife Usha (as played by Freida Pinto) earlier in their relationship as they’re both going to Yale and Vance is trying to move past his family history to succeed in the realm of law.

It might be a no-brainer why Adams and Close are being given so much of the attention for their performances. They are two of the best. Close is particularly amusing as the cantankerous Mamaw, who veers between cussing and crying, but also has some great scenes both with Adams and the younger Vance. The amazing special make-up FX used to change her appearance often makes you forget you’re watching Close. I wish I could say the same for Adams, who gives such an overwrought and over-the-top performance that it’s very hard to feel much emotionally for her character as she goes down a seemingly endless vortex of drug addiction. It’s a performance that leads to some absolute craziness. (It’s also odd seeing Adams in basically the Christian Bale role in The Fighter, although Basso should get more credit about what he brings out in their scenes together.)

Hillbilly Elegy does have a number of duller moments, and I’m not quite sure anyone not already a fan of Vance’s book would really have much interest in these characters. I certainly have had issues with movies about people some may consider “Southern White Trash,” but it’s something I’ve worked on myself to overcome. It’s actually quite respectable for a movie to try to show characters outside the normal circles of those who tend to write reviews, and I wouldn’t be surprised if the movie might be able to connect with people in rural areas that rarely get to see themselves on screen.

Hillbilly Elegy has its issues, but it feels like a successful adaptation of a novel that may have been difficult to keep an audience invested in with all its flashbacks and jumps in time.

Netflix is also streaming the Italian drama THE LIFE AHEAD, directed by Edoardo Ponti, starring Oscar-winning actress Sophia Loren, who happens to also be the filmmaker’s mother. She plays Madame Rosa, a Holocaust survivor in Italy who takes a stubborn young street kid named Momo (Ibrahima Gueye), much to both their chagrin.

I’ll be shocked if Italy doesn’t submit Ponti’s film as their choice for the Oscar’s International Film category, because it has all of the elements that would appeal to Oscar voters. In that sense, I also found it to be quite traditional and formulaic. Loren is quite amazing, as to be expected, and I was just as impressed with young Ibrahima Gueye who seems to be able to hold his own in what’s apparently his first movie. There’s others in the cast that also add to the experience including a trans hooker named Lola, but it’s really the relationship between the two main characters that keeps you invested in the movie. I only wish I didn’t spend much of the movie feeling like I knew exactly where it’s going in terms of Rosa doing something to save the young boy and giving him a chance at a good life.

I hate to be cynical, but at times, this is so by the books, as if Ponti watched every Oscar movie and made one that had all the right elements to appeal to Oscar voters and wokesters alike. That aside, it does such a good job tugging at heartstrings that you might forgive how obviously formulaic it is.

Netflix is also premiering the fourth season of The Crown this week, starring Olivia Colman as Queen Elizabeth and bringing on board Gillian Anderson as Margaret Thatcher, Emma Corin, Helena Bonham Carter, Tobis Menzies, Marion Bailey and Charles Dancer. Quite a week for the streamer, indeed.

Another movie that may be in the conversation for Awards season is AMMONITE (NEON), the new film from Francis Lee (God’s Own Country), a drama set in 1840s England where Kate Winslet plays Mary Anning, a fossil hunter, tasked to look after melancholic young bride, Charlotte Murcheson (Saoirse Ronan), sent to the sea to get better only for them to get into a far more intimate relationship.

I had been looking forward to this film, having heard almost unanimous raves from out of Toronto a few months back. Maybe my expectations were too high, because while this is a well-made film with two strong actors, it’s also rather dreary and not something I necessarily would watch for pleasure. The comparisons to last year’s Portrait of a Lady on Fire (also released by NEON) are so spot-on that it’s almost impossible to watch this movie without knowing exactly where it’s going from the very minute that the two main characters meet.

Winslet isn’t bad in another glammed-down role where she can be particularly cantankerous, but knowing that the film would eventually take a sapphic turn made it somewhat predictable. Ronan seems to be playing her first outright adult role ever, and it’s a little strange to see her all grown-up after playing a teenager in so many movies.

The movie is just so contained to the one setting right up until the last 20 minutes when it actually lives the Lyme setting and lets us see the world outside Mary’s secluded lifestyle. As much as I wanted to love Ammonite, it just comes off as so obvious and predictable – and certainly not helped by coming out so soon after Portrait of a Lady. There’s also something about Ammonite that just feels so drab and dreary and not something I’d necessarily need to sit through a second time.

The animated film WOLFWALKERS (GKIds) is the latest from Tomm Moore and Ross Stewart, directors of the Oscar-nominated Secret of the Kells (Moore’s Song of the Sea also received an Oscar nomination a few years later.) It’s about a young Irish girl named Robyn (voiced Honor Kneafsey) who is learning to be hunter from her father (voiced by Sean Bean) to help him wipe out the last wolf pack. Roby then meets another girl (voiced by Eva Whittaker) who is part of a tribe rumored to transform into wolves by night.

I have to be honest that by the time I got around to start watching this, I was really burnt out and not in any mood to watch what I considered to look like a kiddie movie. It looks nice, but I’m sure I’d be able to enjoy it more in a different head (like watching first thing on a Saturday morning).

Regardless, Wolfwalkers will be in theaters nationwide this Friday and over the weekend via Fathom Events as well as get full theatrical runs at drive-ins sponsored by the Landmark, Angelika and L.A.’s Vineland before it debuts on Apple TV+ on December 11. Maybe I’ll write a proper review for that column. You can get tickets for the Fathom Events at WolfwalkersMovie.com.

Next up is Miles Joris-Peyrafitte’s DREAMLAND (Paramount), starring Margot Robbie as Allison Wells, a bank-robbing criminal on the loose who encounters young man named Eugene Evans (Finn Cole) in rural Dust Bowl era North Dakota and convinces him to hide her and help her escape the authorities by taking her to Mexico.

Another movie where I wasn’t expecting much, more due to the generic title and genre than anything else, but it’s a pretty basic story of a young man in a small town who dreams of leaving and also glamorizes the crime stories he read in pulps. Because of the Great Depression in the late ’20, the crime wave was spreading out across the land and affecting everyone, even in more remote locations like the one at the center of Dreamland.

The sad truth is that there have been so many better movies about this era, including Warren Beatty’s Bonnie and Clyde, Lawless and many others. Because of that, this might not be bad but it’s definitely trying to follow movies that leave quite a long shadow. The innocent relationship between Eugene and Allison does add another level to the typical gangster story, but maybe that isn’t enough for Dreamland to really get past the fact that the romantic part of their relationship isn’t particularly believable.

As much as this might have been fine as a two-hander, you two have Travis Fimmel as Eugene’s stepfather and another generic white guy in Garrett Hedlund playing Allison’s Clyde Barrow-like partner in crime in the flashbacks. Cole has enough trouble keeping on pace with Robbie but then you have Fimmel, who was just grossly miscast. The film’s score ended up being so overpowering and annoying I wasn’t even remotely surprised when I saw that Joris-Peyrafitte is credited with co-writing the film’s score.

Dreamland is fine, though it really needed to have a stronger and more original vision to stand out. It’s another classic case of an actor being far better than the material she’s been given. This is being given a very limited theatrical release before being on digital next Tuesday.

This might have been Netflix week, but maybe it could have been “Saban Films Week,” since the distributor also has three new movies. Actually, only two, because I screwed up, and I missed the fact that André Øvredal’s MORTAL was released by Saban Films LAST week. Not entirely my fault because for some reason, I had it opening this week, and I only realized that I was wrong last Wednesday. Oh, well. It stars Nate Wolff as Eric Bergeland, an American in Norway who seems to have some enigmatic powers, but after killing a young lad, he ends up on the lam with federal agent Christine (Iben Akerlie from Victoria).

This is another movie I really wanted to like since I’ve been such a fan of Øvredal from back to his movie Trollhunter. Certainly the idea of him taking a dark look at superpowers through the lends of Norse mythology should be right up my alley. Even so, this darker and more serious take on superpowers – while it might be something relatively unique and new in movies – it’s something anyone who has read comics has seen many times before and often quite better.

Wolff’s character is deliberately kept a mystery about where he comes from, and all we know is that he survived a fire at his farm, and we watched him kill a young man that’s part of a group of young bullies. From there, it kind of turns into a procedural as the authorities and Akerlie’s character tries to find out where Eric came from and got his powers. It’s not necessarily a slow or talkie movie, because there are some impressive set pieces for sure, but it definitely feels more like Autopsy of Jane Doe than Trollhunters. Maybe my biggest is that this is a relatively drab and lifeless performance by Wolff, who I’ve seen be better in other films.

Despite my issues, it doesn’t lessen my feelings about Øvredal as a filmmaker, because there’s good music and use of visual FX -- no surprise if you’ve seen Trollhunters -- but there’s still a really bad underlying feeling that you’re watching a lower budget version of an “X-Men” movie, and not necessarily one of the better ones. Despite a decent (and kinda crazy) ending, Mortal never really pays off, and it’s such a slog to get to that ending that people might feel slightly underwhelmed.

Seth Savoy’s ECHO BOOMERS (Saban Films) is a crime thriller based on a “true story if you believe in such things,” starring Patrick Schwarzenegger as Lance, a young art major, who falls in with a group of youths who break into rich people’s homes and trash them, also stealing some of the more valuable items for their leader Mel (Michael Shannon).

There’s a lot about Echo Boomers that’s going to feel familiar if you’ve seen Sofia Coppola’s The Bling Ring or the heist movie American Animals from a few years back, but even with those similarities, Seth Savoy has a strong cast and vision to make more out of the fairly weak writing than another director might manage. Schwarzenegger, who seems to be pulling in quite a wide range of roles for basically being another generic white actor is only part of a decent ensemble that includes Alex Pettyfer as the group’s ersatz alpha male Ellis and Hayley Law (also great in the recent Spontaneous) as his girlfriend Allie, the only girl taking part in the heists and destruction. Those three actors alone are great, but then you add Shannon just doing typically fantastic work as more of a catalyst than an antagonist.

You can probably expect there will be some dissension in the ranks, especially when the group’s “Fagan” Mel puts Lance in charge of keeping them in line and Allie forms a friendship with Lance. What holds the movie back is the decision to use a very traditional testimonial storytelling style where Lance and Allie narrate the story by relaying what happened to the authorities after their capture obviously. This doesn’t help take away from the general predictability of where the story goes either, because we’ve seen this type of thing going all the way back to The Usual Suspects.

While Echo Boomers might be fairly derivative of far better movies at times, it also has a strong directorial vision and a compelling story that makes up enough for that fact.

In theaters this Friday and then On Demand and Digital on November 24 is Eshom and Ian Nelms’ action-comedy FATMAN (Saban Films/Paramount), starring Mel Gibson as Santa Claus and Walton Goggins as the hired assassin sent to kill him by a spoiled rich boy named Billy (Chance Hurstfield) who unhappy with the presents he’s being brought for Christmas.

While we seem to be surrounded by high concept movies of all shapes and sizes, you can’t get much more high concept than having Mel Gibson playing a tough and cantankerous* Kris Kringle (*Is this the week’s actual theme?) who is struggling to survive with Mrs. Klaus (played by the wonderful Marianne Jean-Baptiste from In Fabric) when they’re given the opportunity to produce military grade items for the army using his speedy elf workshop. Unbeknownst to the Kringles, the disgruntled hitman who also feels he’s been let down by Santa is on his way to the North Pole to fulfill his assignment.

You’ll probably know whether you’ll like this movie or not since its snarkier comedic tone is introduced almost from the very beginning. This is actually a pretty decent role for Gibson that really plays up to his strengths, and it’s a shame that there wasn’t more to it than just a fairly obvious action movie that leads to a shoot-out. I probably should have enjoyed Goggins more in a full-on villainous role but having been watching a lot of him on CBS’ The Unicorn, it’s kind of hard to adjust to him playing this kind of role. I did absolutely love Marianne Jean-Baptiste and the warmth she brought to a relatively snarky movie.

I’m not sure if Fatman is the best showing of Eshom and Ian Nelms’ abilities as filmmakers, because they certainly have some, but any chance of being entertaining is tamped down by a feeling the filmmakers are constantly trying to play it safe. Because of this, Fatman has a few fun moments but a generally weak premise that never fully delivers. It would have thrived by being much crazier, but instead, it’s just far too mild.

Malin Åkerman stars in Paul Leyden’s CHICK FIGHT (Quiver Distribution) as Anna, a woman unhappy with her life and inability to survive on the little money she makes at her failing coffee shop. When Anna’s lesbian traffic cop friend Charleen (Dulcé Sloan) takes her to an underground fight club, Anna her trepidation about joining in, because she has never been in a fight in her life. Learning that her mother has a legacy at the club, Anna agrees to be trained by Alec Baldwin’s always-drunk Murphy in order to take on the challenges of the likes of Bella Thorne’s Olivia.

Another movie where I’m not sure where to begin other than the fact that I’m not sure I’ve seen a movie trying so hard to be fun and funny and failing miserably at both. Listen, I generally love Akerman, and I’m always hoping for her to get stronger material to match her talents, but this tries its best to be edgy without ever really delivering on the most important thing for any comedy: Laughs. Sure, the filmmakers try their best and even shoehorn a bit of romance for Anna in the form of the ring doctor played by Kevin Connolly from Entourage, but it does little to help distinguish the movie’s identity.

Listen, I’m not going to apologize for being a heterosexual male that finds Bella Thorne to be quite hot when she’s kicking ass in the ring. (I’m presuming that a lot of what we see in her scenes in the ring involves talented stuntwomen, but whoa! If that’s not the case.) Alec Baldwin seems to be in this movie merely as a favor to someone, possibly one of the producers, and when he disappears with no mention midway through the movie, you’re not particularly surprised. Another of trying too hard is having Anna’s father Ed (played by wrestler Kevin Nash) come out as gay and then use his every appearance to talk about his sex acts. Others in the cast like Fortune Feimster seem to be there mainly for their bulk and believability as fighters.

Ultimately, Chick Fight is a fairly lame and bland girl power movie written, directed and mostly produced by men. I’m not sure why anyone might be expecting more from it than being a poorly-executed comedy lacking laughs.

And yet, that wasn’t the worst movie of the weekend. That would be Andrzej Bartkowiak’s DEAD RECKONING (Shout! Studios). Yes, the Polish cinematographer and filmmaker who once made the amazing Romeo is Bleeding, starring Gary Oldman and Lena Olin, has returned with a movie with the onus of a premise that reads “a thriller inspired by the Boston Marathon bombing in 2013.” No, I did not make that up. It mostly takes place in Nantucket, Massachusetts, which I guess is sort of close to Boston, but instead it focuses on the relationship between teens Niko (K.J. Apa) and Tillie (India Eisley), the latter whose parents died in a plane crash that might have been caused by a terrorist. It just so happens that Niko’s brother Marco (Scott Adkins) is an Albanian terrorist. Coincidence? I think not!

Once you get past the most generic title ever, Dead Reckoning is just plain awful. I probably should have known what to expect when the movie opens with Eric “Never Turned Down a Job” Roberts, but also, I strong feel that Scott Adkins, better known for his martial arts skills, is easily one of the worst actors ever to be given lines to say in a movie. And yet, somehow, there are even worse actors in this movie. How is that even possible?

Although this presumed action movie opens with one of three or four fight sequences, we’re soon hanging out on the beach with a bunch of annoying teenagers, including Tillie, who is drowning the sorrow of recently losing her parents by literally drinking constantly in almost every single scene. When she meets the handsome Eastern European Niko, we think there’s some chance of Tillie being saved, but it isn’t meant to be.

Part of what’s so weird is that Dead Reckoning begins in territory familiar to fans of Barkowiak’s movies like Exit Wounds, Cradle 2 the Grave and Maximum Impact but then quickly shifts gears to a soppy teen romance. It’s weird enough to throw you off when at a certain point, it returns to the main plot, which involves Adkins’ terrorist plot and the search by FBI Agent Cantrell (played by James Remar) to find the culprit who killed Tillie’s parents. Oh, the FBI agent is also Tillie’s godfather. Of course, he is.

Beyond the fact that I spent much of the movie wondering what these teens in Nantucket have to do with the opening scene or the overall premise, this is a movie that anything that could be resembling talent or skill in Barkowiak’s filmmaking is long gone. Going past the horrendous writing – at one point, the exasperated and quite xenophobic Cantrell exclaims, “It’s been a nightmare since 9/11... who knows what's next?” -- or the inability of much of the cast to make it seem like anyone involved cares about making a good movie, the film is strangled by a score that wants to remind you it’s a thriller even as you watch people having fun on the beach on a sunny day.

Eventually, it does get back to the action with a fight between Cantrell and Marco… and then Marco gets into a fight with Tillie’s nice aunt nurse Jennifer where she has a surprisingly amount of fighting skills. There’s also Nico’s best friend who is either British or gay or both, but he spends every one of his scenes acting so pretentious and annoying, you kind of hope he’ll be blown up by terrorists. Sadly, you have to wait until the last act before the surfboards are pulled out. (Incidentally, filmmakers, please don’t call a character in your movie “Marco,” especially if that character’s name is going to be yelled out repeatedly, because it will just lead to someone in the audience to yell out “Polo!” This is Uwe Boll School of Bad Filmmaking 101!)

The point is that the movie is just all over the place yet in a place that’s even remotely watchable. There even was a point when Tillie was watching the video of her parents dying in a car crash for the third or fourth time, and I just started laughing, since it’s such a slipshod scene.

It’s very likely that Dead Reckoning will claim the honor of being the worst movie I’ve seen this year. Really, the only way to have any fun watching this disaster is to play a drinking game where you take a drink every time Eisley’s character takes a drink. Or better yet, just bail on the movie and hit the bottle, because I’m sure whoever funded this piece of crap is.

Opening at New York’s Film Forum on Wednesday is Manfred Kirchheimer’s FREE TIME (Grasshopper/Cinema Conservancy), another wonderful doc from one of the kings of old school cinema verité documentary filmmaking, consisting of footage of New York City from 1960 that’s pieced together with a wonderful jazz score. Let me tell you that Kirschheimer’s work is very relaxing to watch and Free Time is no exception. Plus the hour-long movie will premiere in Film Forum’s Virtual Cinema, accompanied by Rudy Burckhardt’s 1953 film Under the Brooklyn Bridge which captures Brooklyn in the ‘50s.

Also opening in Film Forum’s Virtual Cinema Friday is Hong Khaou’s MONSOON (Strand Releasing) starring Henry Golding (Crazy Rich Asians) as Kit, who returns to Ho Chi Minh City for the first time since his family fled after the Vietnam War when he was six. As he tries to make sense of it, he ends in a romance with Parker Sawyers’ American ex-pat and forms a friendship with a local student (Molly Harris). Unfortunately, I didn’t have the chance to watch this one before finishing up this column but hope to catch soon, because I do like Golding as an actor.

I shared my thoughts on Werner Herzog and Clive Oppenheimer’s FIREBALL: VISITORS FROM DARK WORLDS, when it played at TIFF in September, but this weekend, it will debut on Apple TV+. It’s another interesting and educational science doc from Herr Herzog, this time teaming with the younger Cambridge geoscientist and “volcanologist” to look at the evidence left behind by meteors that have arrived within the earth’s atmosphere, including the races that worship the falling space objects.

Opening at the Metrograph this week (or rather on its website) is Shalini Kantayya’s documentary CODED BIAS, about the widespread bias in facial recognition and the algorithms that affect us all, which debuted Weds night and will be available on a PPV basis and will be available through November 17. The French New Wave anthology Six In Paris will also be available as a ticketed movie ($8 for members/$12 for non-members) through April 13. Starting Thursday as part of the Metrograph’s “Live Screenings” is Steven Fischler and Joel Sucher’s Free Voice of Labor: The Jewish Anarchists from 1980. Fischler’s earlier doc Frame Up! The imprisonment of Martin Sostre from 1974 will also be available through Thursday night.

Sadly, there are just way too many movies out this week, and some of the ones I just wasn’t able to get to include:

Dating Amber (Samuel Goldwyn) The Giant (Vertical) I Am Greta (Hulu) Dirty God (Dark Star Pictures) Where She Lies (Gravitas Ventures) Maybe Next Year (Wavelength Productions) Come Away (Relativity) Habitual (National Amusements) The Ride (Roadside Attractions, Forest, ESX) Jingle Jangle: A Christmas Journey (Netflix) Transference: A Love Story (1091) Sasquatch Among the Wildmen (Uncork’d) All Joking Aside (Quiver Distribution) Secret Zoo (MPI Medi Group/Capelight Pictures)

By the way, if you read this week’s column and have bothered to read this far down, I think you’re very special and quite good-looking. Feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

#Movies #reviews #Mank #TheClimb #Freaky #Fatman #Heartland #Mortal #EchoBoomers #VOD #Streaming #TheLifeAhead #HillbillyElegy

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blindrapture · 5 years ago

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The Structure of Ulysses, plus Sonic, Part I

Ulysses is a big book. And I intend on adapting all of it at some point into a series I call Sonic Hamlet, where everyone is played by video game characters. I’m not going to explain why video game characters just yet, you’ve got to just accept them for now.

So far, I have not made much progress with the actual adaptation (I have the first third of the first episode done and on YouTube, click here for it). However, I have made progress in rereading and understanding Ulysses, I’ve made far more progress than I honestly thought I was capable of. And I think I might be ready to at least outline some things. I believe strongly that Ulysses will be of interest to many people alive today, and I do not accept language as a valid barrier to comprehension, only a temporary obstacle. But the onus is on those of us who have read Ulysses, we have to be the ones to clear those obstacles away, we cannot just expect people to read it, we have to help because those obstacles are very much there! Ulysses was hard to read even at its time, but there’s a difference between an intentional challenge and the changing of parlance over time. And the intentional challenge? Is wonderful. It in fact helps us embrace life, the big and the little things in it, the complicated cycles that overwhelm, the fast-paced sarcastic comedy of young people, the slow-paced enigmatic wit of those so ancient they perished long ago, the clash of cultures suggesting inevitable conflict and yet still hiding pathways to real diverse peace.

As an adaptation, my work is a sort of translation, this has to be. I don’t want to change any of the words, though-- Ulysses has a structure to it, a mathematical and logical and literary structure, and the specific words are a part of that. Translations into other languages, those naturally must deal with changing the words, but they try their best to still stick within the plan of the original’s intent. The only language I’m translating into is the extratextual-- I’m adding images, sounds, pauses for reflection. I’m realizing an interpretation of the original text, in the hopes that my audience might have a better foothold for comfortably examining and interpreting Ulysses themselves. The original words can still fit in that context. But character names? Sure. I can accept changing those.

So. So. Sonic Hamlet. As Ulysses is a book, so Sonic Hamlet is a show. As Ulysses is of three main parts with various Episodes in each, so Sonic Hamlet is of three seasons with various Episodes. Following me?

Part I, my Season 1, has three episodes. It is sometimes called the Telemachiad, as it deals with the Telemachus of the story, Stephen Dedalus (hereby Sonic Dedalus), as he goes through the motions of an increasingly despondent life without a trustworthy guide.

Part II, my Season 2, has twelve episodes. It is sometimes called the Odyssey, or the Wanderings of Ulysses, as it deals with the Odysseus of the story, Leopold Bloom (hereby Mario Bloom), as he navigates the slings and arrows of outrageous fortune in hopes of returning home victorious.

Part III, my Season 3, has three episodes. It is sometimes called the Nostos, or the Homecoming, as it deals our Odysseus’s bold return and the stratagems which fell the suitors of his wife, Marion “Molly” Bloom (hereby Peach Bloom).

I will, for now, compose three posts, one for each Season. I will not point out all the coolest shit, all the patterns and correspondences, but I will give a general outline as best I can. Maybe this outline, alone, will give all the help a reader needs to “get” the premise of Ulysses and thus be able to read the original. But ultimately I write this not for any reader but for my own benefit. I need to organize and consolidate some things, see. And I’d may as well start somewhere.

So. Here we go.

Part I / Season 1: The Telemachiad (8 AM - Noon)

Episode 1 / 101: Telemachus

Sonic Dedalus is 22 years old. His mother died last year, putting a damper on his aspirations of travelling other countries and becoming a poet. Now he’s contributing rent money to a buddy’s cultural project (”let’s rent out an old watchtower and turn Ireland into Ancient Greece,” that’s about as thought-out as the plan became). His buddy, Big Mulligan, doesn’t seem to have much respect for Sonic, just an incessantly jovial tolerance. Staying with them is Shadow Haines, an Englishman with a gun who wants to write a book of all the quirky folk-sayings of the primitive rural Irish. Big thinks Sonic could contribute a lot to that. Everyone seems to like Big and Shadow; their conspicuous and confident personalities shine above the material worries of the Dublin lower-class. The lady who delivers milk for their breakfast that morning (played by Tikal) listens to Shadow with reverence and doesn’t even seem to notice Sonic, who pays for the breakfast and sees Ireland’s spirit in her. That morning, Big gets Sonic to promise him a sizable chunk of Sonic’s salary will go towards getting them all drunk later. He also gets the key to the tower from him, for some reason. And he gets naked and goes for a swim, as Sonic walks off to do his day’s work.

Episode 2 / 102: Nestor

Sonic works as a temporary teacher at a nearby school. Today, he teaches his class about the historical battle at Asculum, where Pyrrhus gave his famous quote (”another victory like that, and we’re done for”). They’re not terribly interested, since today’s hockey day and they want to play outside, but that’s okay, Sonic’s mind isn’t really focused today either. He’s got some themes battling in his head, and they won’t go away. Though they don’t stop him from at least giving the kids a strange riddle and helping a poor kid with his math homework. And the kids all play hockey. This episode takes its name from an old boastful king, whose advice keeps young Telemachus going (waiting for his father’s return from the war), but also whose company is a bit much in long bursts. Here, Nestor is played by the headmaster of the school (whose video game character I have not assigned), Mr. Deasy. Deasy is a West Briton, the type of Irishman who thinks he’s English and thinks Ireland is just the westernmost province of England. So, probably a Protestant. I really don’t remember right this minute. But in practice, it means Deasy talks down on a lot of people all while thinking he’s being a nice old man. He has money, he keeps his money, he says this is a very English thing to do, and he judges all those who can’t pay their way. He loves history, sees it as one steady march towards the real manifestation of God, and he thinks Sonic unhappy for his view that history is “a nightmare from which I am trying to wake.” But he at least pays him, his salary and some decency. And, knowing Sonic has some “literary contacts,” he gives him a letter to deliver to the newspapers, a letter proposing a solution to foot-and-mouth disease (this will come up later). And as Sonic leaves the school for the day, Deasy hails him down to say one last thing: a jovial bit of earnest antisemitism. “You know why Ireland is one of the only countries that never persecuted the jews?” “Why?” “She never let them in!” And he laughs, the light of the sun dancing coins on his shoulders.

Episode 3 / 103: Proteus

It is now 11 AM. Sonic, after leaving the school, walked all the way to Dublin proper. Here he is on the Strand, a sort of beach, having some alone time, thinking of many things, many memories (his short stay in Paris as a poet, his interactions with the family of uncle Richie who lives nearby to the Strand, his childhood), many subjects (Greek philosophy, Latin theology, aspirations, self-loathing), the sights he sees (midwives with bags, someone walking a dog, lots of flotsam). Ultimately, there’s a trend of trying to pin down the unpinnable, to put into words the ineluctable modality of the visible, the limits of the diaphane; this clues us into the Odyssean correspondence. Proteus is god of the sea, ever changing shapeshifter, who it is said will grant a wish to anyone who is able to hold him still for long enough. Just as Telemachus, in now understanding some context about his father, waits by the sea and wonders how he-- how anyone-- could successfully return with their wits intact when the gods are so multifaceted and the waters so unpredictable, just as Telemachus watches the sea, so does Sonic watch the morphing world of his senses.

And that’s Part I of Ulysses, and that’s Season 1 of Sonic Hamlet. We will see Sonic again later in the day, we’ll actually see quite a bit of him, but this is the point of departure for the text itself. This whole time, the text has taken Sonic’s psyche, the energy and passion and associations dormant in his thoughts, and infused it with a more novel-like narration of What Actually Happens, altogether producing The Text what readers read. It’s happened relatively slowly, with sparks of surprising creativity manifesting in each episode, the “narrative” doing “weird” “things” “all of a sudden,” and Proteus acts as a sort of climax, allowing Sonic’s psyche the whole spotlight and putting What Actually Happens in the background. I’ve said before that the text “wakes up” over the course of these early episodes, but I now think what really happens is the text holds back in order to allow the reader to wake up, to recognize that the text, the narrative itself, is the narrator, that not even focal characters like Sonic are the source of the viewpoint we see, that.. there’s something more going on. A greater Argument being made. But it will take time to even see the whole argument. And here let me bring up medieval pedagogy regarding the art of syllogism: it has been conventional to view the initial order of cognitive thought as “Subject, Middle, Predicate” (as opposed to any other order of those terms which are all, in fact, valid). This is a big factor behind why we’re taught to view stories as constituting a “beginning, middle, end,” and why we’re taught to give arguments (essays!) in the same structure. It’s all because that’s how Christian theology saw the Greek tool of syllogism should be taught, back in the middle ages. With me so far? Okay, cool. So Ulysses is made up of three main parts. There’s a lot of reasons why given episodes are strictly in one part and not others, but perhaps one of the most aesthetically pleasing bits of trivia is that Part I begins with the letter S, Part II begins with the letter M, and Part III begins with the letter P. Subject, Middle, Predicate. A valid structure for a formal argument. Season 1 of Sonic Hamlet, in following Ulysses as far as I feasibly am able to, gives us the thematic subject of a greater argument being made. And that makes Season 2, or Part II, the bulk of the argument, the middle.

So what goes on, then, in the middle of this grand argument? If Sonic isn’t the point, then who is? If Sonic is Telemachus, then who is Odysseus, the wise father-king-husband-hero coming home from the great war? We can interpret the sea of his voyage as probably being his shifting senses, as per Proteus, so then what are the trials on his sea, the trials on his senses? Who are the gods that he faces, what are the stratagems he comes up with in order to appease and survive?

Well, Joyce was adamant of this: The modern Odysseus in Ireland would have to be of Jewish descent. He would have to be a staunch pacifist. He would have to have a marriage in a questionable state of stability. He would have to be a stick in the mud, a party pooper with an adorably dry sense of humour and a physically average build, a serious and unrelenting cuck, and yet a man with sensible ideas of how to spend money generously and pipe dreams of a socialist nation where love and equality triumph. He would not stand in opposition to the modern bigoted uncaring society, his friends and neighbours, but he would be tasked with changing it all the same.

The modern Odysseus is Leopold Bloom. The modern Odysseus is the prototypical social justice warrior.

And that’s who the bulk of Ulysses is about, that’s the psyche we’ll get to explore, that’s what I’ll post about later on.

#sonic hamlet #in making this post i finally went and made the makeshift pictures for Nestor and Proteus #the images are not necessarily reflective of how the final products will look #it would drive me crazy if i tried to keep them all perfect and consistent #because i've still got to make a lot more of them #the episodic structure is honestly one of my favourite parts of the book? it helps me dig in.#so i do want to emphasize an outline around that structure. making sonic hamlet a 'show' naturally follows from this.

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consciouskingdom · 6 years ago

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Surviving R. Kelly....

This was hard to watch. Since the six part series premiered on Lifetime it has created a firestorm and we as a people have got to unpack all of this! To begin: I believe Every. Single.One. Of. These. WOMEN! And we ALL should.......BUT we don’t..... because the painful cries of Black Women fall on deaf ears. The series featured personal accounts from everyone including his security guards, back up dancers, his own brothers and most importantly, the survivors of his abuse. Their vivid and descriptive depictions of what they endured set social media on fire and everyone had an opinion to share. For everyone writing post, sharing memes blaming young black girls or still in support of Robert Kelly in any way - please read the following bullet points and get your life!

· Young Black Girls are not “FAST”, They are prematurely overly-sexualized, manipulated and preyed upon.

We can not attack young black girls for “seducing” older men. I’ve seen the memes shared with captions demeaning teenage girls that had older “boyfriends” picking them up from the high school parking lot...everyone is laughing & sharing their memories of this but ignoring the fact that these same men are aware of their power over a younger woman and exploiting it for benefit. A dominant dynamic is established when someone such as a young girl in poverty/lack thereof to basic necessities encounters a manipulator who will target that and use it to their advantage. Most of these young girls were thinking with a scarcity perspective fueled by desperation, craving more out of life and unfortunately predators were the respondents to their pleas as opposed to someone who could help. These type of men willingly and strategically use their age, money and perceived power to manipulate a younger naive mind. Preying on their need for emotional attention, financial support and validation; young girls are met with psychological brain washing tactics that they are in no way prepared to fight against. As early as I can remember - my body changed as I matured and older adult men were the first to comment and notice it. “Oh girl, you really starting to fill out”.....”You getting some hips and legs on you”...”You grown up now”.....”Come on over here and give me a hug, let me look at you”...comments like these occurred at family events, school and even my church growing up. Young black girls are objectified and violated in plain sight! And unfortunately because of that mindset that translates to our bodies are disposable and serve as an object of pleasure - no one acknowledges the pain endured when our innocence is stolen before we can even fully comprehend the full implications of the actions that are transpiring. Ask any black woman you know, she has a story in her childhood where this or something similar has occurred. The common misconception is that because it happens so often, the young girl is to blame because she is being “fast” or “frisky” and pursuing an older man but we ignore what the older man is doing to persuade and manipulate her to be there in the first place! Stop labeling her a whore, slut, fast or frisky! A young girl could be as "fast" as Sonic the Hedgehog but no child is promiscuous enough to entice an older person into being intimate with him/her if that older person did not have an attraction to children initially. We never question the motives of the predator but question the actions of those being preyed upon. In victim blaming, we blatantly ignore the psychological damage that young girls and women are suffering through daily. Predators are stealing their innocence resulting in damage to their self esteem and their ability to have agency over one's own body and life. That type of damage will literally permeate every aspect of her life until she is able to heal. Many who endure sexual traumas hide their hurt in the nearest bottle or whatever substance will numb the pain as they spend their lives drowning in shame. 60% of young black girls have been sexually violated before the age of 18 and the Black community can not just keep dismissing it as “Oh, She just acting grown.”

· “Consent” received from coercion and manipulation of a naive underage mind makes it null & void!

Many opinions argue that the women involved all participated willingly - I Call Bullshit! Within the black family that type of ideology runs rampant. By definition, consent is to give permission for something to happen or an agreement to do something. If someone is granting their permission for a sexual act to occur but it’s prompted by emotional manipulation, promises to aid in career advancement, physical abuse and fear: That’s. Not. Consent! Young black girls in under-served and inner cities are in circumstances in which older men are preying on their naïve nature, immaturity and survival needs. Living in poverty creates a scarcity mindset that forces you to result to desperate measures for basic necessities and financial support. Aside from being under the influence of substances I believe there is nothing stronger than being under the influence of mind manipulation. R. Kelly used vulnerability, power, money and persuasion to ultimately create their dynamic; just as an older family member or someone’s boyfriend will offer money and attention in the midst of their abuse of a young girl. Molestation followed by providing money and/or physical abuse is a form of control, NOT CONSENT! A known pimp & womanizer once said “Any boy can control a girl’s body but a Grown Man can control her mind” To see the parents of Joycelyn Savege and Domonique Gardner crying out for their daughters, popping up on Kelly's residences seeking their children was heartbreaking. They wouldn't speak to their families because that's how deep psychological manipulation is, its classic "Pimp" culture and was heartbreaking to watch. The survivors are not to blame here! (Yes I'm saying it AGAIN just in case you missed it in the last paragraph)

· R Kelly’s personal experience with sexual abuse is a deflection tactic & does not justify him repeating the cycle.

During the series, R Kelly’s brother admitted that he and his brother were both molested as children. My heart mourns for all black children who endure sexual, physical, emotional abuse. We NEED to discuss the sexual abuse Black boys go through as well! Black boys are sexualized as early and often as young girls. Calling a young black boy “sexy” or your “boyfriend” or stating you’ll be waiting for him when he turns 18 is predatory behavior. Unfortunately society encourages it when it’s revealed that a teenage boy has slept with an older woman but it’s still perverted! A real discussion about sexual abuse with black boys and the trauma they endure must occur BUT not at the expense of Black girls. During the series his own brother, Bruce Kelly, stated Kelly's attraction to young girls were a “preference”. Pedophilia isn't a preference, its a choice! Truly examine the amount of time, effort, money and energy put into creating the "pimp" dynamic of power that Kelly enforced; that's intentional, calculated and strategic. Being a victim to sexual trauma and knowing the damage it caused, could lead to a mindset of NOT repeating those same heinous activities....R Kelly didn't make that choice. He is wealthy, he could have pursued counseling/therapy and he didn't. To use his own abuse as an excuse is a defense tactic, his predatory ways cannot be justified because of a traumatic upbringing. This is precisely why I constantly stress the importance of therapy and counseling. The entire Kelly family needs help to not perpetuate this cycle.

· You can not separate the artist from the “art” when the art is a detailed description of his perverse actions and predatory lifestyle.

Seeing the comments online still crowning him as the “King Of R&B” literally sickened me. I personally recall being taught “I Believe I Can Fly” in elementary school, flapping my arms to scream the empowering lyrics. I recall my Mom cleaning our entire house with his songs crooning as we all sang along as I washed the baseboards. R Kelly provided a soundtrack for our lives. As much as we love “Step In the Name of Love” We absolutely must step away from this nigga! We can’t turn a blind eye to his actions because we love his musical genius. His security guards, producers who have worked with him, background vocalist and dancers ALL confirmed he had multiple bedrooms intentionally installed in his musical production studios. Read that again… he had multiple bedrooms *IN* the music studio…meaning he was sexually engaging and abusing young girls in between song takes. One of the survivors revealed that Kelly penned “You Are Not Alone” for Michael Jackson detailing her miscarriage of Kelly’s child while she was 17. Analyzing the lyrics he had Aaliyah sing for her debut single: “Boy be brave, don't be afraid, Cause tonight we're gonna, go all the way. Don't mean to be bold, gotta let you know, I gotta thing for you, and I can't let go my.. Age ain't nothing but a number, throwing down ain't nothing but a thang, This loving I have for you it'll never change”......

I know the music is catchy but don't compartmentalize just to serve what benefits you and undermines the severity of damage these women endured.

There is absolutely no way we can continue to separate the art from the artist when his art depicts the life he manifest and the young girls who are a part of it!

· Everyone surrounding Aaliyah during her time with him had concerns but no one took action!

A stage manager, his body guards, his entourage, his family, producers who created music for her, friends of Liyah who were also background dancers and toured with her all witnessed her relationship with Kelly. Per the docuseries, they all stated they had concerns but no action occurred to protect her. The bodyguard openly admitted he forged documents to aid in their marriage; at the time Aaliyah was only 15 years old. After Aaliyah's mother heard the background dancer Jovante Cunningham openly stated she saw Kelly having sex with Aaliyah she immediately denied it in a statement stating she and her husband were always with Aaliyah as she toured. With all respect to the Haughton family and the legacy of Aaliyah, her family failed her and everyone around her failed her. It seems her mother is afraid to admit the truth of this situation, not every parent can be around their teenagers 24/7 and that's okay. BUT don't shame others for speaking their TRUTH. It dawned on me after watching the details be described that perhaps he likely married Aaliyah so that she could get an abortion without having to get parental consent. If a murder is committed and someone witnesses it - they are an accessory to the crime. I'm demanding a legal reform that applies the same logic to everyone who enabled R Kelly!

After we've watched the episodes and read the countless memes, status post and tweets let us remember: Listen to Black WOMEN! Tears don't flow that easily nor does pain resonate in someone's voice like that without reason. Even if you deny the claims, we have legal documents that show Robert Sylvester Kelly married Aaliyah when she was 15. You can be pro-black and still hold Black men and women accountable for their wrongdoings. A black girl’s life is more important than some hit songs. I commend dream hampton and the superb cinematic efforts she executed in creating this docu-series! It highlights a truth so basic it pains me that I even have to state it: Anything that harms Black Women harms black PEOPLE in our entirety....and R Kelly must be added to that list.

Bye Robert, Get some help!

(Note: If this was triggering for you or you need someone to talk to, please email us at [email protected], confidentiality guaranteed...I love you)

ShopConsciousKingdom.com

#rkelly #survivingrkelly #aaliyahdanahaughton #aaliyah #consciouskingdom #conscious #kingdom #consciousness #blackwomen #black girls matter #respectblackwomen #muterkelly #mute r kelly #surviving r kelly #surviving r kelly review

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alpha-centari27 · 5 years ago

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SONIC THE HEDGEHOG Exclusive Interview With Star Lee Majdoub About Agent Stone And His Dream Superhero Role

We recently caught up with Sonic the Hedgehog star Lee Majdoub to discuss his breakout role as Dr. Robotnik's sidekick Agent Stone, while he also reveals which superhero he would love the chance to play...

Sonic the Hedgehog proved that the video game movie curse is officially dead as critics and fans alike loved it (you can read our review by clicking here). Throw in the fact that it was a box office hit, and it's fair to say that there's a lot of excitement surrounding the yet to be announced sequel.

After being made available EARLY on Digital platforms, the movie arrives on 4K Ultra HD, Blu-ray, and DVD on May 19th, and to celebrate its release, we recently had the opportunity to catch up with star Lee Madjoub. He plays Agent Stone in Sonic the Hedgehog, and has been hailed as the breakout star (the character, meanwhile, has gained a devoted fan following online).

As the straight man to Jim Carrey's villainous Dr. Robotnik, Madjoub was responsible for many of the funniest exchanges in the film, and made a lasting impact after past memorable roles in TV shows like Supernatural, Zoo, and The 100.

In this interview, we delve into the Robotnik/Stone relationship, his experiences working with Carrey, and even hear a compelling argument for why he could be the Marvel Universe's next Wolverine!

It was great to talk to Lee about Sonic the Hedgehog, and we obviously want to extend a huge thank you to him for taking the time to do this interview happen with everything going on in the world right now. Agent Stone is clearly a role he's passionate about and, after reading this, we're pretty sure you'll also want to see him don those familiar claws...

Were you a fan of the Sonic the Hedgehog games before being cast and what did it mean for you as an actor to join such an iconic franchise?

Yeah, I actually did play Sonic on the SEGA Genesis when I was a kid. It was probably my favourite game growing up, and the SEGA Genesis was the first console I got to call my own. It was extremely surreal to get cast in the movie itself, and then when I found out Jim Carrey was playing Robotnik, and I was gonna be playing his right-hand man, it took it to the next level for me. I also grew up loving Ace Ventura, The Mask, and, well, all of Jim's stuff!

You're very much the straight man to Robotnik, but how do you keep a straight face when Jim Carrey is reeling off lines like the one about how Stone makes his lattes?

It was a challenge to keep a straight face at times, for sure. What was lovely about that set was that everybody was so positive, and having a good time was really welcomed. If we broke or laughed, you didn't feel like you were doing anything wrong, thank goodness! There were a few times, and the scene I remember was when Robotnik sticks the quill to his tongue and electrocutes himself...and then turns to me and offers it to me! I had such a tough time keeping a straight face, so I had to figure out ways to change my facial expression or not quite look at Jim in the eyes in order to get that scene done.

Did you get the opportunity to do much in the way of improv on set?

I did. Fortunately, working with Jim, improv comes with it. The looser he gets, and the more he's figuring out Robotnik, the more permission I had to feed off of whatever he was doing. That was really welcome, and it was amazing to be able to say, 'Oh my gosh, I'm getting to improvise with Jim Carrey, one of the greatest at it.' Some of the stuff didn't work with Agent Stone, but we got to flesh it out and have a lot of fun, nonetheless. Sometimes in the movie, you didn't get to see the improv, but then some of the improv does actually make it in there!

Did you find playing an original character without ties to the video game series freeing as there weren't any specific expectations from fans?

I think it was a little bit of both, to be honest. In the cartoons, he's got Orbot and Snively in certain versions, and when you're playing someone that already exists, you have a little bit of something to feed off. You go, 'Okay, this is what the character is like, so I can take some hints there.' With Agent Stone, there's also the element of freedom where there's nothing pre-established so you could do whatever works within the realm of the story after discussions with Jeff Fowler, who was our amazing director, and the writers and Jim. It was definitely fun not to be tied into anything and feed off Jim, for sure, and then what was on the page for us, was all you ended up seeing in the movie. Stone was, I wouldn't say last minute, but through the last few drafts, Stone was written in to give Jim someone to talk to. He was the straight man in the movie, but through discussions with Jim and Jeff and Toby [Ascher], our fantastic producer, we were able to flesh out the story a bit and figure out the relationships, and it turned into what you see now.

I feel like it's fair to say that you were the movie's breakout star, but were you surprised by the reaction fans have had to Agent Stone?

Yeah, I never ever imagined Agent Stone would have this much backing from the fans. Even before the movie came out, you'd see him once in a trailer, but people started to really stick by him. A lot of fans were like, 'We are Agent Stone, and he is us.' We've all had to work with that boss who doesn't appreciate you, and you get hired for one reason, but all they want you to do is make coffee! It was really surprising and it's still very surreal. There's a lot of engagement, and a lot of fan-art out there that I'm so appreciative of and it blows me away every time I see a new art piece come out.

It seemed Robotnik hated everyone other than Stone, and he even finds a new Agent Stone on the mushroom planet, so I was wondering what you think it is that makes your character different to everyone else in Robotnik's life?

[Laughs] You know what, to me, I think Stone sees something in Robotnik that no one else does. There's this utter respect he has for Robotnik, and he lets him get away with a lot like the hand going into the mouth and the throat chop. Stone understands that this is Robotnik, and this is what he needs to do his thing. What I also love about Stone is that he judges Robotnik at times too, so I feel like there's a respect there, but I think Stone is unwavering and always there for him and it probably forces Robotnik to have to be okay with it.

Were you surprised to watch that mid-credits scene and see that Agent Stone had been replace with, well, a stone?

The day I wrapped on set was the day before I shot that scene. I was there when they were coming up with the ideas, and Jim was talking to them saying, 'What if he has another Agent Stone? Like a Wilson from Castaway?' It was so funny, and I saw them putting the moss beard on there. I laughed really hard. There's flattery there too as Robotnik needs Stone in some way, shape, or form in order to continue doing what he's doing. No matter how much he denies needing anybody, I think Robotnik kind of needs Stone there even though he's not willing to admit it.

Were there any scenes you shot which were particularly memorable for you that you didn't ultimately make the final cut?

Honestly, all of my major scenes made the cut. I'm so grateful for that. It's really hard to pick a favourite scene out of all that stuff as it was all with Jim, and there was always something to do and something memorable between the two characters in every scene we did. Even when he asks if I see anything on the screen and I'm like, 'Nothing at all,' and he responds with, 'That's right, it's because you weren't trained by the Native American shadow wolves!' Even in that moment, Agent Stone gives him this look, and there was always some fun to be had. Ultimately, I think the latte scene...the Austrian goat milk latte scene is my favourite just because that whole dance leads up to this one moment and it's the only time in this movie that Robotnik actually pays Stone a compliment even though it's berated and he yells at him.

You've spent some time in the Marvel Universe voicing Harry Osborn in the Absolute Carnage shorts, but would a live-action superhero movie role interest you, and do you have any characters in mind?

Ohh, that's a really good question! I grew up loving Wolverine. That's always been one of those childhood dreams of mine. If I get the chance...I don't know, there might be fan outcry or whatever, but you know, I'm a little bit hairy! I've got the bushy eyebrows! I'm Canadian! I qualify in certain ways. I'm shorter than Hugh Jackman! It's okay, we can pull it off...I'll put on the weight. I don't care! [Laughs] Wolverine, for sure. Ever since I was a child, I've wanted to play him. There are a few anime characters I've always wanted to play too if they were ever turned into live-action. There's an anime called Saint Seiya. Also, Venom. I love the anti-heroes for some reason growing up. As a kid I got picked on and I was never really in any groups and I never fit in, so I think the anti-heroes kind of had that little angry voice in me that I couldn't quite express.

Looking ahead to a possible Sonic the Hedgehog sequel, what would you like to see from Stone next if he gets to reunite with the new, unhinged Robotnik?

I would love a moment where we see why he's an actual agent. I feel like he could kick some butt. We haven't seen it yet, and I would love a moment with Robotnik as a damsel in distress and Stone shows up, saves Robotnik, and Robotnik won't admit that he's saved him!

You can find Lee on Twitter HERE, Instagram HERE, or Twitch HERE!

#sonic movie #agent stone #jimbotnik #dr robotnik #robotnik #lee majdoub interview #lee majdoub #I want to read fanfics about all the small or big ways Stone has rescued robotnik #like saving robotnik from getting burned by coffee #someone trying to poison #his food #someone infiltrating the government with the intention of taking #robotnik out #stone saving robotnik from his own self destructive tendencies

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vinylexams · 5 years ago

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A very special fireside interview with XUXA SANTAMARIA

Check Insta for our thoughts on this landmark album from Oakland duo XUXA SANTAMARIA. Stay right where you are to read a really fun interview I scored with the band this week. They’ve just released Chancletas D’Oro on Ratskin Records out of Oakland and Michael blessed me with my very own copy. It was so good I knew I needed to tell you all about it and I wanted to pick their brains a little bit, too. Without further ado, please enjoy:

//INTERVIEW

You’re still breaking into indie world at large, but you’ve already got a huge following back in California and your home-base in Oakland. What has it been like to be featured in major outlets like The Fader?

SC: We are a funny project; we ebb and flow from being total hermits to having periods of relatively high visibility (relative to aforementioned hermit state). I wouldn’t say we have a huuuge following in CA but I do think that the ‘fandom’ we’ve developed here is really genuine because we don’t play shows out of an obligation to remain visible but instead do so because we feel super passionate about the work and the audience and I think people respond to that energy. I for one, and perhaps this is because of my background in performance, have a hard time performing the same stuff over and over without change which accounts for us being selective with our playing live. That’s also why videos are such an important part of what we’re about. The piece in The Fader was important to the launch of this album because it established some of the themes and, to an extent, the aesthetics of this album in a way that can be experienced outside of a live setting. None of this is to say we don’t like playing live, in fact we love it, we just like to make our sets pleasurable to ourselves and to our audience by constantly reworking it. We strike a weird balance for sure but we’ve made peace with it. If we ever ‘make it’ (lol) it’ll be on these terms.

Chancletas D'Oro is a pretty incredible record and while it reminds me of a few bands here or there, it’s got a really fresh and unique style that merges dance with all sorts of flavors. How would you describe your music to someone who is curious to listen?

MGK: Haha, we generally struggle to describe our music in a short, neat way (not because we make some kind of impossible-to-categorize music, but just because it’s the synthesis of a ton of different influences and it’s hard for US to perceive clearly). But with that caveat in mind - IDK, bilingual art-punk influenced dance/electronic music?

SC: Thank you for saying so, we’re pretty into it :) Like Matt says, we struggle to pin it down which I think is in part to what he says – our particular taste being all over the place, from Drexciya to The Kinks to Hector Lavoe- but I think this slipperiness has a relationship to our concept making and world building. As creative people we make and intake culture like sharks, always moving, never staying in one place too long. Maybe it’s because we’re both so severely ADHD (a boon in this instance tbh) that we don’t sit still in terms of what we consume and I think naturally that results in an output that is similarly traveling. Point is, the instance a set of words - ‘electronic’, ‘dance’, ‘punk’- feel right for the music is the same instance they are not sufficient. I propose something like: the sound of a rainforest on the edge of a city, breathy but bombastic, music made by machines to dance to, pleasurably, while also feeling some of the sensual pathos of late capitalism as seen from the bottom of the hill.

The internet tells me you’ve been making music as Xuxa Santamaria for a decade now. What has the evolution and development of your songwriting been like over those ten years?

MGK: Well, when we first started out as a band we were so new to making electronic music (Sofia’s background was in the art world and mine was in more guitar-based ‘indie rock’ I guess - lots of smoking weed and making 4 track tapes haha), so we legit forgot to put bass parts on like half the songs on our first album LOL. We’ve learned a lot since then! But in seriousness, we’ve definitely gotten better at bouncing ideas back and forth, at putting in a ton of different parts and then pulling stuff back, and the process is really dynamic and entertaining for both of us.

SC: This project started out somewhat unusually: I was in graduate school and beginning what would become a performance practice. I had hit a creative roadblock working with photography - the medium I was in school to develop- and after reading Frank Kogan’s Real Punks Don’t Wear Black felt this urge to make music as a document of experience following Kogan’s excellent essay on how punk and disco served as spatial receptacles for a wealth of experiences not present in the mainstream of the time. I extrapolated from this notion the idea that popular dance genres like Salsa, early Hip Hop, and Latin Freestyle among many others, had served a similar purpose for protagonists of a myriad Caribbean diasporas. These genres in turn served as sonic spaces to record, even if indirectly, the lived experiences of the coming and going from one’s native island to the mainland US wherein new colonial identities are placed upon you. From this I decided to create an alter ego (ChuCha Santamaria, where our band name originally stems from) to narrate a fantastical version of the history of Puerto Rico post 1492 via dance music. We had absolutely no idea what we were doing but I look back on that album (ChuCha Santamaria y Usted - on vinyl from Young Cubs Records) fondly. It’s rough and strange and we’ve come so far from that sound but it’s a key part of our trajectory. Though my songwriting has evolved to move beyond the subjective scope of this first album - I want to be more inclusive of other marginalized spaces- , it was key that we cut our teeth making it. We are proud to be in the grand tradition of making an album with limited resources and no experience :P

We’re a big community of vinyl enthusiasts and record collectors so first and foremost, thanks for making this available on vinyl. What does the vinyl medium mean to you as individuals and/or as a band?

MGK: I think for us, it’s the combination of the following: A. The experience of listening in a more considered way, a side at a time. B. Tons of real estate for graphics and design and details. C. The sound, duh!

SC: In addition to Matt’s list, I would just say that I approach making an album that will exist in record form as though we were honing a talisman. Its objecthood is very important. It contains a lot of possibility and energy meant to zap you the moment you see it/ hold it. I imagine the encounter with it as having a sequence: first, the graphics - given ample space unlike any other musical medium/substrate- begin to tell a story, vaguely at first. Then, the experience of the music being segmented into Side A and Side B dictate a use of time that is impervious to - at the risk of sounding like an oldie - our contemporary habit of hitting ‘shuffle’ or ‘skip’. Sequencing is thus super important to us (this album has very distinct dynamics at play between sides a/b ). We rarely work outside of a concept so while I take no issue with the current mode of music dissemination, that of prioritizing singles, it doesn’t really work for how we write music.

MGK: We definitely both remain in love with the ‘album as art object/cohesive work’ ideal, so I would say definitely - we care a lot about track sequencing, always think in terms of “Side A/Side B” (each one should be a distinct experience), and details like album art/inserts/LP labels etc matter a lot to us.

What records or albums were most important to you growing up? Which ones do you feel influenced your music the most?

SC: I know they’re canceled cus of that one guy but I listened to Ace of Base’s The Sign a lot as a kid and I think that sorta stuff has a way of sticking with you. I always point to the slippery role language plays in them being a Swedish band singing in English being consumed by a not-yet-English speaking Sofía in Puerto Rico in the mid 90s. Other influences from childhood include Garbage, Spice Girls, Brandy + Monica’s The Boy is Mine, Aaliyah, Gloria Trevi, Olga Tañon etc etc. In terms of who influences me now, that’s a moving target but I’d say for this album I thought a lot about the sound and style of Kate Bush, Technotronic, Black Box, Steely Dan, ‘Ray of Light’-era Madonna plus a million things I’m forgetting.

MGK: Idk, probably a mix of 70-80s art rock/punk/postpunk (Stooges, Roxy Music, John Cale, Eno, Kate Bush, Talking Heads, Wire, Buzzcocks, etc etc), disco/post-disco R&B and dance music (Prince, George Clinton, Chic, Kid Creole), 90s pop + R&B + hip hop (Missy & Timbaland, Outkast/Dungeon Family production-wise are obviously awe-inspiring, So So Def comps, Jock Jams comps, Garbage & Hole & Massive Attack & so on), and unloved pop trash of all eras and styles.

Do you have any “white whale” records that you’ve yet to find?

MGK: Ha - the truth is that we’re both much more of a “what weird shit that we’ve never heard of can we find in the bargain bin” type of record buyer than “I have a custom list of $50 plus records on my discogs account that I lust over”.

SC: Not really, I’m wary of collectorship. That sort of ownership might have an appeal in the hunt, once you have it do you really use it, enjoy it? Funnily, I have a massive collection of salsa records that has entries a lot of music nerds would cry over (though they’re far from good condition, the spines were destroyed by my Abuela’s cat, Misita lol, but some are first pressings in small runs). For me its value however, comes from its link to family, as documents from another time and as an amazing capsule of some of the best music out of the Caribbean. I’m glad I am their guardian (a lot of this stuff is hard to find elsewhere, even digitally) but I live with those records, they’re not hidden away in archival sleeves, in fact, I use some of that music in my other work. Other than that, the records I covet are either those of friends or copies of albums that hold significance but which are likely readily available, Kate Bush’s The Dreaming or Love’s Forever Changes, or The Byrds Sweetheart of The Rodeo as random examples

Finally, is there a piece of interesting band trivia you’ve never shared in another interview?

SC: haha, not really? Maybe that we just had a baby together?

Congrats on your new baby, and also for this wonderful new album. It was a pleasure chatting with you and I can’t wait to see what the future has in store for you and your music!

#xuxasantamaria #interview #oakland #music #electronic #electronicmusic #ratskin #ratskinrecords

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adrianalvas · 5 years ago

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Podcast 188: Figure Section [aufnahme + wiedergabe] [ +Interview]

Figure Section arose from the meeting of Austrian-French musician and actress Olivia Carrère - aka Olive - and Belgian artist and producer Yannick Franck (RAUM, Orphan Swords, Mt Gemini), who first crossed paths on a theatre stage in Brussels.

Although founded on an acknowledgement of these styles, their execution is experimental, idiosyncratic and entirely modern in spirit, guided by an intent to revise their influences and an approach shaped by romanticism and a surreal, Dadaistic sense of humour. The recurrent themes of the project address friendship, love, loss, existential angst, survival, irony, degeneration, queer culture, non-conformity and ‘the expiation of tensions through modern day rituals’.

The duo’s first single ‘Teutonic Knights’ was hailed by The Brvtalist as an illustration of ”infectious wave [music] with an eerie atmosphere and frigid vocals”, a track that subsequently generated widespread acclaim. In October their debut EP was released on the cult Berlin based label run by Phillip Strobel, aufnahme + wiedergabe.

TF: What motivates you to create Figure Section?

O: My collaboration with Yannick is an intersection between a strong friendship and similar interests and tastes in music. What’s more, the collaboration between us is really complementary in the creative process and allows us to explore new musical playgrounds which neither of us would probably reach if we were working separately.

Y: There are certain musical realms I wanted to explore for a long time whilst doing very different projects (Orphan Swords, RAUM, Y.E.R.M.O.), and since we met and started to experiment together, we dreamed of having a proper duo. It took time but here we are, I am very glad the project exists and I couldn’t dream of a better companion to do it with.

TF: Tell us something about you. What’s your background? Where did you studied and who influenced you to explore musical processes?

O: My background is rather diverse, and it took me a long time to discover how intimate I was with music as a listener, but also as a composer. I come from a theatrical background. I trained as an actress, though I started my studies with a degree in communication – specifically in socio-cultural animation - knowing that I would change path after obtaining it. It’s quite funny to see how tortuous life can be before finding your way through and beyond all these experiences. When I started as an actress ten years ago, something was missing in my professional contribution. I was desperately looking for some creative language that I could develop on my own. I was already familiar with singing since my childhood, so I started learning the basics of music theory online, and quickly I realized that I wanted to compose songs, and to find the easiest way of recording them without any external help. I got my hands on a keyboard and software and started composing, singing and producing at home. It was more a secret process for a few years, until I created a solo piece in the National Theatre of Belgium, which involved performing some of my compositions. This was a fundamental step where I learned that, with the music, I could be really free in the writing and performing process.

Y: I studied painting, but it quickly became clear that music was a territory worth exploring and one that I had to invest my time and energy into. Since I was pretty disgusted by the blatant materialism and the general mindset of the art world; the galleries, and a lot of the attitudes adopted by other artists (competitiveness, individualism, tendency to follow an art world, scale version of the Star System), I found there would be more freedom making music. People attend a concert to have an experience. Anyhow I love art, all sorts of art and my friends are usually creative people. Also, there have never been any boundaries for me, you can build sonic sculptures or paint rhythms, you can conceive a concert as a performance, you can do whatever you want. I recently moderated a panel at BOZAR about the underground art scene in New York in the 80’s, in East Village in particular. I had the pleasure of interviewing Dany Johnson (she was a resident DJ at Club 57 and later at Paradise Garage), Leonard Abrams (he ran the fabulous magazine The East Village Eye) and Gil Vasquez (DJ and president of the Keith Haring Foundation) and what struck me was the fact that at that particular moment in that scene you had zero boundaries between visual art, music, dance, performance… Klaus Nomi shared the bill with Ann Magnuson and John Sex and Haring curated shows and painted almost 24/7 while listening to music. It was all about energy. It’s academicism and speculation (art as a luxury product) that kills such energies (and eventually did in that case) Two different problems, both normative and alien to any creative essence. I stumbled upon a Serge Daney quote lately: ‘Academicism is the aesthetics of nihilism.’ And I agree with that, once you “do things because that’s the way they’re done”, reproduce them in blind fidelity and separate, classify, and annihilate boundary breaking forces, you start producing numb, meaningless objects. In this case a painting has to go from a gallery to a living room or a collection where it belongs. Is it a nice base material for speculation or a good way to seem educated and exhibit your taste as a buyer, to impress others? Hell no…a painting is rather an expression of life itself, a celebration, an exhibition of the worlds revolting features, its horrors, its injustice, its sadness, qualities and themes such as these…in every case it is an essential, vital gesture. Otherwise why even take a look at it? Music should be just the same.

TF: Do you spend all your time for your musical activity or do you have another job?

O: Yes, I do now. The musical activity has taken the vast majority of my time even though I’m still performing as a theatre actress, but that part of my professional activity is becoming more and more scarce. I’ve been recently offered to create music for theatre. So, my work today is divided between Figure Section, and other emerging projects for which I compose and produce for other artists, and my work as a music composer for the theatre. Maybe one day I will come back to the stage with a performance in which I’ll be the actress as well as the musician. I do keep an eye on that prospect even though it’s not the priority for the moment.

Y: I teach sound in cinema. We analyze movies and their soundtracks most of the time. It is a very interesting way to make a living next to music making.

TF: How is your live set up going to be? Any particular equipment? What’s your favourite track to play live and why?

O: We are working on the simplest and most efficient way of touring. So, our set is based on live keyboard playing, voice mixing, and equalizing the tracks live. So, there’s no particular equipment at the moment.

Spectral Dance, is one of my favourites to play live. It’s a more nostalgic synthpop song that offers a vast sense of space for the vocals and the keyboard parts. I just love its simplicity, almost naïveté, contrasted by lyrics about pernicious ghosts from the past that try to keep us from moving forward.

Y: There is a lot of different processes and ideas colliding and merging in Figure Section. It is always quite challenging for us to write a new song and perform it on stage. I think my favourite live song is currently Disfigured Section. We both sing on that one and I love that. Lyrics and vibe wise it’s sort of a Neo Dada track, maybe a tad surrealistic too, from apparent nonsense a lot of sense can emerge from the lyrics. Also, it is nervous, rough, noisy, kind of pissed off. At the same time desperate and full of energy. A union of opposites.

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TF: What new hardwares did you apply to make 'Spectre' LP? Do you have a particular method while working in the studio?

O: There’s no new hardware utilized, but we have a more precise choice of instruments these days as well as a particular approach in the production process. Yannick and I work just as well separately as together in the studio. It just helps us to be more efficient because of our very different schedules. We both share online a musical file filled with musical ideas, loops, drums and lyrics. We are both the composers and mixers of the songs, but Yannick is more the writer and the producer and I’m more the arranger and singer. I think that we have now reached the perfect balance in the creative process, which is almost symbiotic.

Y: Yes, it is super interesting because I never know where Olive is going to take a song to when she starts working on it with her great skills and sensibility. What I know is that great stuff will eventually happen, leading to things that will stimulate us and give us even more ideas.

TF: How do you compose this tracks? Do you treat them like musical narratives or more like sound sculptures or images?

O: It really depends on the material. Sometimes Yannick comes with a very complete composition and I add the keyboard and voice arrangements, sometimes I come with a proposition and he completes it. Our strongest asset as a duo is that we started music completely differently, Yannick as an electronic experimentalist and performer, and I as a pop songwriter and singer. So, what we do is bring these assets together in our songs. I think the first track of the Spectre release is the perfect example of that symbiosis. This is what we aim for.

Y: Yes, it is a creative adventure, we have no such thing as a clearly established routine, it’s more laboratory like. It is not “experimental music” but the way it is done is not conventional either.

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TF: Any movie, documentary, album (not electronic music) that you would like to share with our readers?

O: We are big fans of horror, thrillers and sci-fi. The last movie that left me fascinated as well as horrified is Midsommar by Ari Aster. I loved that movie because its director knows how to subtly inject weird elements of comedy that make you feel uncomfortable, as well as conveying an ice-cold intrigue about ancient pagan practices and rituals. Loved it.

Y: +1 for Midsommar. I loved that the movie never seems to bring any judgment about the neo-pagan community it depicts, it is just utterly different from what we know but it seems to make sense no matter how shocking it can be. It gives us a break from the ethnocentric attitude of many North Americans and from the extreme arrogance of modern western civilizations, which seem to be absolutely convinced of their superiority to any previous or different civilizations. Also, the visual effects are amazing. Der Goldener Handschuh (The Golden Glove) was quite a great movie too. Being utterly disgusted by this ugly, messy, desperate serial killer’s gruesome murders without being able to restrain myself from laughing was for sure a wild experience. And it really triggers thoughts afterwards. Moral thoughts especially. I found it pretty strong. A non-electronic album: Lux perpetua by Ensemble Organum, which is a very particular version of the Requiem by Anthonius de Divitis. It is such a beautiful requiem and such an incredible interpretation; it even features throat singing which is very unusual in the context of European polyphonic reinterpretations. 15th century art tends to focus a lot on death and mortality. And as Regis Debray said in his 1992 book The Life and Death of Images: “Where there is death there’s hope, aesthetically speaking.”

TF: What are the forthcoming projects?

O: Wrapping up our debut LP.

Y: We are also planning tours, confirmed dates are in Israel and the US so far but more will be announced later on. It would be fabulous to come play in Mexico too!

source https://www.tforgotten.org/single-post/Podcast-188-Figure-Section-aufnahme-wiedergabe-Interview

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dazstormretro · 5 years ago

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Discovering Retro Gaming Part 2

It was now early 2009 and I was officially a retro gaming addict. Having previously purchased an old Super Nintendo on a whim I soon found myself with a decent collection of both games and video game magazines which I had enjoyed as a teenager. Now I was looking for my next fix of nostalgia so it was back to eBay.

It wasn’t long before I came across a PAL Sega Mega Drive with a copy of Altered Beast. This was an obvious choice as before I owned my Super Nintendo back in the 90’s I was a dedicated Sega kid. The secondhand console was instantly purchased and before long I was enjoying such classics as Sonic the Hedgehog, Super Shinobi and Castle of Illusion all over again. I remember loving the original design of the Mega Drive back in the day, it felt so sleek and futuristic and in my opinion still holds up.

Over the next few months I would purchase several titles for the console plus plenty more magazines including Mega Tech and Mean Machines Sega to accompany the system. My spare bedroom had now turned into a mini time capsule chocked-full of old Sega and Nintendo paraphernalia. I soon added a Sega Master System to the mix as this was the very first console I owned as a kid. My games library was (and still is) relatively small for the console but having titles such as Double Dragon, R-Type and Psycho Fox at hand felt great. The box art for these games might look primitive compared to later console titles but to me that basic artwork with its graph paper background screams my childhood.

As my collection expanded I started to outgrow the spare bedroom (plus my girlfriend wasn’t exactly over the moon having a room full of ‘old tat’) so it was time to relocate. Luckily I had an attic space which was bordered out and had several power points already pre-installed. After a lick of paint and a good clean I had my first man cave. Entering through a trap door in the landing roof (which wasn’t the most practical way) I suddenly had my own personal space to game. New shelving was bought to house my games, an old 27 inch CRT TV was purchased for a £1 and up went several of my retro gaming posters which had come free with Mean Machines from back in the day.

Obviously having more space meant more retro goodness was purchased including an original NES and Game Boy plus a Dreamcast and a Game Gear, two consoles I never owned as a kid. Around this time I received a text from an old mate asking if I wanted a couple of used game consoles he’d found at his parents house. Of course I jumped at the chance and soon found in my possession a GameCube, a model one PS1 and a model two PS2.

I now had retro gaming on tap. With a choice of multiple consoles to play and numerous games at my disposal my interest in the subject peaked even further. After a chance meeting with a friend I was introduced to yet another avenue to explore - YouTube. Up until this point I had not really bothered with YouTube, I had no interest in watching cute cat videos or people maiming themselves in skateboarding accidents but my eyes were suddenly opened to its true potential. Turns out there were thousands of people like me who shared this passion for retro gaming and many of them were making videos on the subject. The first show I discovered was Game Sack which I loved and for weeks binged watched the entire back catalogue. Next up was the Happy Console Gamer which was equally enjoyable and still watch to this day. Before long I had subscribed to around thirty different channels, all making exceptional content on the subject of retro gaming and gaming memories.

Off the back of Youtube I also started listening to various gaming podcasts. Shows such as Maximum Power Up and Retronauts suddenly made car journeys and walking the dog so much more bearable. Retro gaming was everywhere. I now had access to an unlimited wealth of information thanks to online videos, the aforementioned podcasts and could even read newly published material thanks to Retro Gamer Magazine, Twitter and various Facebook groups. The retro gaming community was growing rapidly and I felt humbled to be part of it.

The retro man cave was now properly established and looked eerily like my old bedroom from the 90’s. Crammed full of old posters, video games and magazines this was the place I went to when the real world got too much, a place to relax and switch off for a while.

Another interest which coincided with retro gaming was my love of vintage toys from my childhood, mainly G1 Transformers and a bit of Lego. This new hobby originally started after my dad dug up an old action figure one afternoon whilst gardening. Recognising the toy my mum called me saying she had something she thought I would like. I couldn’t believe when she handed me one of my original M.A.S.K figures, Brad Turner to be exact. This figure had been buried in my parents back garden for over twenty five years! Being reunited with this old friend after so long felt magical. Brad Turner was the very first M.A.S.K toy which I received as a child. That evening I was straight on eBay to purchase Condor, his green motorcycle which now sits on atop of Boulder Hill and takes pride of place in my current man cave.

Having amassed a decent sized collection of the games and consoles which I grew up with it was time to concentrate on the peripherals. For the SNES I hunted down a Hudson Super Multitap, Super Scope, and a Universal Adapter Japanese games converter. The Mega Drive got the Arcade Power Stick and the N64 the rumble pak plus the expansion pak so I could finally play my copy of Perfect Dark.

Approaching my 36th birthday I decided to celebrate one of my all time favourite games, Secret of Mana. On my 16th birthday I had asked for and received this amazing game. Being a big Final Fantasy fan at the time I couldn’t wait for the release of Square Soft’s latest RPG. Exactly twenty years later I thought it would be fitting to once again track down this game. Managing to acquire a boxed copy of Secret of Mana for a decent price I once again set about my quest to find the Mana Sword. To go alongside this beautiful game I commissioned a custom painted Secret of Mana themed Super Nintendo which to date has been my most extravagant retro gaming purchase. This now sits along side my other consoles and looks simply stunning.

Fast forward to October 2016 and my family and I had decided to move house. Of course moving up the property ladder is an important decision, you have to get the right location, suitable garden and of course the right amount of space which suits your budget. Whilst my partner was busy scouring property websites for these sensible options I was searching for a property which could house my gaming collection. It was time to move out of the hot and musty attic space and into a proper gaming room, but to my disappointment this wasn’t to be. We did end up purchasing a lovely house but unfortunately without building an extension there was no extra space to store my gaming collection, suddenly I was without a man cave!

#retro gaming #nostalgia #1990s #super nintendo #video games #man cave #n64 #playstation

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sargenthouse · 6 years ago

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Emma Ruth Rundle: Fever Dreams in the Season of the Witch // KEXP

full article via KEXP

“I don’t think anything I’m doing is witchy at all,” says Emma Ruth Rundle.

I’ve just put forward a journalistic hypothesis linking her, Marissa Nadler, Zola Jesus, and Chelsea Wolfe as self-contained women making uncompromising art steeped in haunted melodrama. It’s an oversimplification, but Rundle is too kind to brush off my conjecture completely. “Marissa is a friend and Chelsea is, too. Zola Jesus, I’ve never met, but we’re playing a festival together in a few weeks.”

With tarot tapestries and books like Basic Witches for sale in Urban Outfitters everywhere, we’re witnessing a mainstreaming of the occult. Trend or not, Rundle doesn’t mind being connected to arcane female power. “It’s good company,” she allows. “It’s a unique moment, a little scene if you will. I’m happy to be associated with such lovely ladies.”

Good company is something Emma Ruth Rundle knows a lot about. Since 2008, she’s released records with the Nocturnes, Red Sparowes, and Marriages. It's her solo albums, however, where Rundle’s impassioned vocals and swirling guitars have coalesced into a sonic thumbprint. On Dark Horses (out now via Sargent House) is a career highlight — an album that marries a hazy, soft-focus mood to the artist’s most fully-realized songcraft to date.

Rundle is speaking to me via Skype from Berlin, tonight’s stop on an extensive European jaunt. She’s on the road with her husband Evan Patterson’s experimental Americana act Jaye Jayle, two members of which play in Rundle’s own live band. Her relationship with Patterson grew out of such travel. “We did a split release (2017’s The Time Between Us [Sargent House]) which was a foretelling of what was to come,” Rundle explains. “Touring that record, we fell in love and now we’re married.”

“A life spent in pieces,” she sings on album opener “Fever Dreams.” The title is a fitting metaphor for On Dark Horses’ shadowy sound. It also hints at a fractured personal history. “It’s pretty literal,” Rundle confirms. “My sister and I came from some abuse as children and a household that included drug problems, physical abuse, and mental health issues that have been genetically passed on.”

Flanged cymbals, hypnotic rhythms, plenty of reverb — descriptors like neo-psychedelia and shoegaze are easy to bat around when discussing the new record. Rundle agrees. “The album as a whole has a quality that definitely references shoegaze.” There’s also powerful ensemble playing and she’s quick to credit Kevin Ratterman (My Morning Jacket, Young Widows) for helping to achieve both the sound and performances. “We tracked as a group,” Rundle says. “That contributed to the cohesiveness of the album and Kevin’s production added that sort of softness to it.”

Central to the record are those distinctive guitar lines and beguiling vocals, leading to the question of whether she writes more as a singer or instrumentalist. For Rundle, it’s a combination.

“The roles are pretty interwoven,” she says. “I start all my songs on acoustic. From there, vocal melodies present themselves. I write all the lyrics and transfer it over to electric where I work with the band.” Still, even after completing a record, the songs continue to evolve. “Live, I’m noticing that the music is a bit heavier than it is on the record.”

Indeed, the heavy music community has always embraced Rundle as part of what she jokingly refers to as the “trifecta of Chelsea Wolfe, Marissa Nadler, and I.” She’s appeared at Northwest Terrorfest and supported King Buzzo of the Melvins. Perhaps its the elemental nature of Rundle’s music speaks to fans of that genre. “There’s a simple line that comes from playing in Red Sparowes — a post-rock band — to Marriages where we opened for Deafheaven. While my music may not be metal, I listen to a lot of it and feel comfortable in that world.”

It’s not all Rundle listens to, but the dark stuff bubbles to the top. She describes PJ Harvey and Tori Amos as being “like gods” during her formative years. “I’m also into Chris Whitley, the singer/songwriter,” she says. “His whole story and everything about that person is inspiring and fascinating. I’m kind of obsessed with him.”

Horses are another recent obsession — even Rundle’s new paintings are equestrian-themed. And then there’s the album title itself. “I wrote 'Darkhorse' for my sister,” she says. “It’s about overcoming childhood stuff, surviving and thriving despite circumstances that may have led us down a different path.” The concept flowered from there. “It was a metaphor that became a mythological character which came to life and I fixated on.”

A sense of wonder about the natural world permeates the lyrics as well. “We outshine the sun, we out-rise the moon,” she and Evan sing on “Light Song.” At first blush, the track sounds like it’s about rebirth while alluding to the pair’s romantic connection.

“There are parts taken from traditional folk wedding songs — some of the baptismal stuff about getting in the water,” explains Rundle. “It’s this blissful love song that’s ended up referencing and representing our relationship.”

A longtime Los Angeles resident, Rundle now lives with Patterson in his hometown of Louisville, KY, where they recorded On Dark Horses. The new setting suits her. “Louisville is affordable and we have a great quality of life. I couldn’t tour this much or be this productive as a visual artist and musician in LA. I’d be working two jobs.”

Directed by Louisvillian Danielle Elise Bartley, the video for “Light Song” paints their existence in dreamy hues. Rundle reveals one personal detail. “We got to borrow Evan’s Dad’s classic car which I thought was pretty cute.”

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The clip and its idealized Southern Gothic atmosphere bring me back to my original line of questioning. Seeking a fresh angle, I mention that this article is set to run October 31st and inquire about Rundle’s own spooky traditions.

“I love Halloween and that subtle change in the air, the thinning of the veil between worlds,” she admits. “While my music may not be witchy, I’m definitely down with the creepy stuff.”

Emma Ruth Rundle / Jaye Jayle Tour Dates

OCT 31 Rotterdam, NL @ Rotown NOV 01 Groningen, NL @ Vera NOV 02 Paris, FR @ Petit Bain NOV 03 Manchester, UK @ Soup Kitchen NOV 04 Bristol, UK @ Rough Trade NOV 06 Glasgow, UK @ Stereo NOV 07 Newcastle, UK @ The Cluny NOV 08 London, UK @ Oslo NOV 09 Kortijk, BE @ Sonic City Festival  NOV 10 Antwerp, BE @ Trix NOV 30 Nashville, TN @ The High Watt DEC 01 Atlanta, GA @ Drunken Unicorn DEC 03 Dallas, TX @ Double Wide DEC 04 Austin, TX @ Barracuda DEC 06 Albuquerque, NM @ Sister DEC 07 Phoenix, AZ @ Valley Bar DEC 09 Los Angeles, CA @ The Echo DEC 10 San Francisco, CA @ Rickshaw Stop DEC 12 Portland, OR @ Mississippi Studios DEC 13 Seattle, WA @ Barboza DEC 15 Salt Lake City, UT @ Kilby Court DEC 16 Denver, CO @ Lost Lake DEC 17 Kansas City, MO @ The Riot Room

#Emma Ruth Rundle #Jaye Jayle #Sargent House #KEXP

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lyralumina · 7 years ago

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How about Kaiba for the ask thing?

Character: Seto Kaiba

1: sexuality headcanon

I actually headcanon Seto to be Bisexual.

2: otp

- BlueShipping (Seto Kaiba and Kisara) This ship will always be number one within the fandom because the show sets it up. Not as nicely as it should be but that is because the season it was basically set up in was dealing with the writers tossing in a grand slew of ways to end off the series with no plot holes but that failed in the end. The season this was all set up in had little time to fully show anything between the two for example, the fact that Seto is a different person than Priest Seto is. That Kisara now has to deal with two Seto’s running around. Other than that, It’s a wonderful ship. - PuppyShipping/VioletShipping (Seto Kaiba and Jounouchi Katsuya)This ship has been with me since middle school. I started shipping it back then. I had to keep that secret tucked away because not a lot of people generally liked Yu-gi-oh! Or a ton of other animes, if you liked anime then you were simply outcasted and my performing arts ass could not let that be. Sure I openly stated that I was into anime but they left me alone pretty much, also I hid that well with my Sonic the Hedgehog phase. The show had countless times where Jounouchi and Seto interacted together, whether it be good or for bad but whatever the outcome was, the fandom just snatched up any moment the two had screen time together and took it from there. It’s a good ship but some things here and there make the pairing unhealthy.

- AzureShipping (Seto Kaiba and Anzu Mazaki) This ship was one of the first ships I ever had watching this show as a kid and I will ship this in hell thank you very much. As a kid I was far too busy shipping Yugi Muto and Yami Yugi (Atem) to even consider Yugi ever loving Anzu back, kid me was wild. As a kid I also really liked the ’ main female is in love with the bad guy ‘ trope so Seto and Anzu just took itself from there and quite honestly, I love this pairing so much. Sure it could never happen but I like to dream. Its a good ship but again some parts here and there would make this an unhealthy relationship.

3: brotp

Mokuba Kaiba because, They are already extremely close, they are siblings after all. They love to get work done as soon as possible so that they can spend time together with such little time they have. Somedays are harder to do so since Seto is extremely busy going through mountains of paperwork and having to handle taxes and all that other stuff grown ups have to do. Seto actually taught Mokuba how to do taxes and how to write checks because the earlier he learns the better. For when they do hang out, They love to just play a game like chess and not have to stress as if their very lives are on the line. They also talk about future plans with no stress lurched on their shoulders, Seto will maybe once or twice crack a genuine smile to his younger brother. They have a nice cup of tea while they are at it. Mint and Rose hip are both of their favorites.

Anzu Mazaki because, She is the only one within Yugi’s friendship gang that he can tolerate well because unlike Jounouchi, she is well mannered and knows when enough is enough. She just has class while the other three boys don’t know when to put a cork in it. While they don’t ’ hang out ’ very often, they are on great terms with one another. Anzu is actually the runner up for when Seto has to bring a ’ date ’ or someone else to some formal event and with that being said, Seto has her cell phone number. They text and send each other things they would find interesting. Also another good reason as to why they have each others cell phone number is because Mokuba really likes to hang out with Anzu, she is like an older sister to Mokuba.

Yugi Muto because,Okay Yugi is also someone he can tolerate but to a certain extent, he will get cranky the second Yugi starts talking about friendship and then drone on about the ’ Heart of the cards ’. They still are on good terms with one another and yes, they have each others cell phone numbers, they text often rather than having to schedule meeting times since Seto is busy on his end and Yugi is busy on his end as well. Both have busy yet so different lives and they know that well. Yugi will sometimes send Seto a really weird meme that he does not understand and he has to ask Mokuba what does it mean and sometimes Mokuba is on the ground in a hysterical crying mess. The most recent one was the ‘ oh worm ‘ meme and Mokuba snorted as he was busy filing paper work in chronological order.

4: notp

-There are people who do ship TabloidShipping, Seto Kaiba X Mokuba Kaiba as far as I am aware. Its incest and I am not up for that. I don’t know why people would ship that but- here we are in 2017 I guess.

-There is a ton of people within the fandom who ship PrideShipping, Seto Kaiba X Atem and I am not one of those people. Sorry you guys. Sure,

Some stuff may be cute and sappy like, “Oh Seto can teach Atem what the world has to offer.” “Atem and Seto vacationing in the after life without anything truly bothering them.” But I just cannot find it in myself to ship them together.

5: first headcanon that pops into my head

Seto is a great dancer. He might not be on Anzu’s level of expertise but he knows quite a lot which surprises a lot of people, even his younger brother. Seto really loves ballroom dancing, he is a sucker for live jazz bands playing, the girl is in a flowy dress and the lights are dimmed down to really set the mood. He once went into detail about that to Mokuba and Mokuba was very surprised that he would like that, not that his brother did not have any class but he thought that his brother would not like dancing one bit. Other than that he also likes watching royal ballets. This is something both he and Anzu love talking about together over a nice hot cup of tea. Seto and Anzu do dance together on their free time if they can and to Anzu, Seto is an amazing partner, probably the best too. He’s really tall and knows what he is doing, he will even ask her if she is comfortable during a lift. If he feels he is harming her or even hears a slight hiss of pain from her he will get all antsy and tell her if she is alright and what can he do to lessen the pain. Anzu will laugh and say that she is fine but she will have to deal with ribcage or waist bruising for a while. Seto has a problem with soft gripping but Seto is afraid of dropping her. He has dropped her before and it scared him because one injury can actually hurt her professional dancing career.

6: one way in which I relate to this character

The Blue Eyes White Dragon is my favorite monster/dragon of all time and nothing has come close to stealing its throne. My deck is favored to it and I currently have eight of them on my deck, which is either a good thing or a bad thing. I’m not sure but I just really love the BEWD. One of my nicknames back in elementary school was actually Seto Kaiba because I was one of the best duelists within the school and I was the only girl who even liked Yu-gi-oh!, everyone else were boys. I used to have a duel disk too and everyone knew I was ready to throw down 24/7 but then my Littlest Pet Shop phase happened.

7: thing that gives me second hand embarrassment about this character

There is nothing that would make me embarrassed about liking Seto to be honest. A lot of the fandom really like Seto for who he is honestly. Some might not like him and that is fine no one is asking or forcing you to. I actually used to have a childhood crush on Seto back when I was a kid and no one honestly knew that, which was a good thing because that could have ruined my performing arts reputation within the blink of an eye. I valued my reputation more than my own self, I had things to manage and better things to do than love an old school anime, I had to dance, I had to run track, I had so much more to do. It was not about being bullied, it was about how you can strive and make it into the year books with fame and a good reputation.

8: cinnamon roll or problematic fave?

Both actually. Season 0 wise he was an evil boi who just wanted to rule the world and who also had green hair further more my nickname for him within Season 0 is long green onion boi.Duel Monsters wise : I LOVE HIM! THAT’S MY BOI WHO I WILL LOVE AND PROTECT WITH THE REST OF MY LIFE. I LOVE MY EXTRA BOI! Dark Side Of Dimensions wise : SETO YOU CAN’T JUST YEET YOURSELF INTO THE AFTERLIFE FOR ATEM LIKE THAT! WHY ARE YOU LIKE THIS???

#sibbinthegivengibbon #yu-gi-oh!#seto kaiba #This has been sitting in my inbox for a solid month #I am so sorry for the long wait

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shemakesmusic-uk · 4 years ago

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Tomberlin has shared 'Wasted,' a lullaby-esque stunner about secrets that are hard to keep. Tomberlin engages in some clever wordplay as the song ambles along, each line bleeding into the next: “Can you tell the difference?/ I can tell the difference,” she sings. “Maybe you’re the difference/ Please don’t be indifferent/ I could make it different. "'Wasted’ was the most fun song to record. I brought the song with the guitar part and knew I wanted drums, but wasn’t sure what kind of beat I wanted,” Tomberlin said in a statement, continuing: "Alex played this drum beat for me and was all ‘kinda left field but maybe this would be cool.’ It took the song to a whole new level. Sad song or summer banger? You tell me. The video was made with the help of Busy Philipps (who directed) and Marc Silverstein (who shot it), who are more like family then friends at this point. I was quarantined with them and their girls in South Carolina and we came up with the idea and shot it in about 4 days on an iPhone." [via Stereogum]

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With their debut EP Tell U set to land on October 30 via House Arrest, New Yorks’ Couch Prints - aka Jayanna Roberts, Brandon Tong, and Jacob Truax - have shared the video for the title track. “I wrote the first iteration of this track while living in Denver - I was working this job I hated and had this feeling that life was speeding by,” Brandon says of the new track. “I ended up moving to New York a few months later, and shortly after Jake came out from Paris to record some of the music we’d been collaborating on the past year. While he was [In Paris] he had worked on music with Jayanna, so he called her to come sing on the tracks. We showed her the tracks and immediately she was humming along and had this incredible tone and way of singing, so we started recording for ‘Tell U’ and finished it that night. With so many moving pieces coming together so serendipitously, the final song came to celebrate this feeling of transience and movement and leaving the past behind. When we gave the song to Mayachka for the music video, she took that wistful feeling and our experiences, and created a story about a supposed three-way love triangle between us - with all the romance and nostalgia of a 2000’s soap opera. It perfectly captured the melancholy and strangeness of our first year coming together.” [via DIY]

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Setting her art rock-inspired single 'Battleship' against a stunning clip directed by Pete Majarich, the new one from Jordan Laser deserves all your attention. [via Happy Mag]

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New Jersey-based artist PYNKIE releases lead single 'Personality' from her sophomore album #37 out October 16 via House Arrest. A self-proclaimed ode to divorce (more specifically Radice’s parents divorce), the track is as sharp and witty as you’d expect from PYNKIE. It possesses this off-kilter touch that we’ve seen her adopt since her self-released 2018 debut album neoteny. The track references specific interactions between PYNKIE’s parents as they fight over possessions in the messy divorce. Lines such as “Furniture, Furniture/Over my dead body” are sung with a delightfully naïve charm, effectively capturing the sometimes obliviousness or misunderstanding that children have when it comes to events of such grandeur. With its buoyant bassline, jangly guitars, stoic percussion and perfectly imperfect slacker vocals, 'Personality' is musically a raw joy to behold. It’s flawless in its mixture of the known and the unknown, expected and unexpected. Skilfully wrong-footing the listener by setting up expectations of direction and then changing at the last minute is something that PYNKIE excels at. Lo-fi ethics and embedded nostalgia have become a staple of her music. This 90s nostalgia also takes the main role in the accompanying Kelli McGuire-directed visuals. We see Radice with her hair in bunches, wearing chokers, double denim that’s been scrawled on in felt tip pen and jelly sandals. The lighting is soft yet colourful with a light fuzz that gives it a retro warmth to it, casting our minds back to childhood. With vibrant graphics breaking up the video, topped off with the karaoke-style lyrics at the bottom of the video, the effect is one of wistful fondness. With its combination of unadulterated playfulness, darker tones and gleefully childish sensibilities, 'Personality' speaks to a larger theme that will carry through the upcoming album #37. [via High Clouds]

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No Joy releases the official music video for 'Dream Rats' from their album Motherhood which is out out. The video and track features frontperson and principal songwriter Jasamine White-Gluz’s sister, Alissa, of deathcore supergroup Arch Enemy. The video also features an amazing duck named Success who is somewhat of a local celebrity in Montreal. The White-Gluz sisters want to take this opportunity to spotlight the Le Nichoir Wild Bird Rehabilitation Centre, a non-profit organization located in Hudson, Quebec. Their mission is to conserve wild birds as part of our natural heritage.

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Actor and singer-songwriter Maya Hawke released album opener 'Generous Heart' as the final preview of her debut LP Blush, out now. A new interview with i-D reveals that 'Generous Heart' is one of Hawke's favourites from her record, and was created from a poem about love that she wrote as a senior in high school. Hawke also revealed the inspiration behind her debut album title to i-D, "I am a person who really struggles with embarrassment and shame, but it’s such a weird thing to talk about. There’s something embarrassing about even talking about being embarrassed. And the word blush, or blushing, to me is this sort of feminised take on embarrassment. Someone will be like, 'Oh it’s so cute, you’re blushing!' But on the inside, you’re dying. I liked the idea of taking this feminised word for shame, and making it the album title - because I struggle with both the feminisation of it, and the thing itself." She adds of the album, "Something that feels really important to me - and the record is sort of all about this - is how, even as you grow up and start to go through more 'adult' experiences, you’re still a kid. You’re still the same person that you always were. And so there’s the need to remember that throughline of your own humanity. I wanted to have those children’s voices to add a reminder of 'this might sound like a woman’s voice, but this whole childhood life is connected through all these stories'." [via Line Of Best Fit]

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GRETA is making waves. The Copenhagen-based German musician - real name Greta Louise Schenk - has peppered 2020 with a string of superb singles, re-casting Nordic pop in a sci-fi gaze. Working towards her debut album, GRETA has been spending time in the studio with Farao, who has been producing those enormously imaginative sessions. New album Ardent Spring Part hits home on September 4, and it's led by the drifting future-facing pop of new single 'Again'. A gorgeous return, 'Again' is GRETA at her most defiant, an attempt to break out the cycles of behaviour that define us. She comments: "It's a song about the patterns we humans keep repeating even though we would like to break them. How we spend our entire life waiting for it to happen instead of living it." Stine Thorbøll directs the video, a tour de force of female Nordic talent that features the likes of Helena Heinesen Rebensdorff (Brimheim), Julie Christiansen (We are the way for the cosmos to know itself), Mary Jean Moore (MARY JEAN) and Luna Matz (Takykardia). GRETA explains... "The video for ‘Again’ is about a transition to something new and about preparing for that change. About being afraid of uncertainty, but finding strength in each other and oneself. It is about taking its place in the world. About strength and vulnerability. It is an invitation to be with everything you are and a promise that everything is more beautiful on the other side." Bold, and hugely imaginative, 'Again' seems to exist on its own terms, a defiantly independent piece of pop music. [via Clash]

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Australian pop/R&B singer Clairy Browne is making her return to 2020 with her dance-worthy hit, 'Not The Only'. Drenched in glamour and extravagance, Browne has dropped an atmospheric tune with anthemic hooks and enthralling choruses. 'Not The Only' signals a new chapter for the artist as she breaks away from her kitsch retro-pop sound and explores a new neon-tinged soundscape. The songwriter is gearing up to release her next EP ANGEL later on this year and we’re curious to see what else she’s got in store for us. [via Wonderland]

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In these dark and uncertain times, there’s no arguing that we need some relief, and fast. And one act giving us an instant burst of feel-good energy and sonic elation is MRCH with their glittering electronic number 'I Like You'. Drenched in optimism and bouncing into life with retro 80s-style synths, undulating rhythms and ethereal vocal hooks, the Phoenix-hailed duo – made up of Mickey and Jesse Pangburn – are lifting spirits with the synth-pop dance floor filler. The track is the first offering from their forthcoming new EP, out later this year – and has fans excited for their usual riveting live performances when life resumes. The visuals are a trippy retro throwback with the pair bopping and jamming, and making us miss a full throttle hedonistic night out. “Making songs is how we tell ourselves we aren’t alone, and hopefully how we tell other people they aren’t alone either,” explains Mickey. “Ironically, the hardest year for us has produced perhaps the cheeriest of MRCH songs, and absolutely one of our favourites.” [via Wonderland]

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The artist Elohim has been an enigma since she first broke on the scene a half decade ago. She's since stepped out from behind the anonymous persona she originally crafted, and through her tender exploration of mental illness in her art, has reached millions of fans — proving true authenticity has no labels. The Los Angeles-based artist and producer was in the midst of her headlining Group Therapy Tour when the coronavirus pandemic hit, and like so many artists, she had to step back from performing live. But she quickly recalibrated and has been performing live from her home studio — and also working on the visuals for her single, 'I'm Lost.' The supremely trippy, Chase O'Black video captures the surreal experience of dissociating — something Elohim says she's been experiencing she was 7-years-old. "A lot of the art I create is speaking about these experiences (i.e. hallucinating)," Elohim tells NYLON. "'I'm Lost' examines this part of my brain, which is something difficult to put into words, so we decided to share this experience through surreality in the desert. Creating this new music filled my life with the most freeing moments, and making this video felt similar." Take a trip with Elohim to the California desert (and the infamous Slab City — an ideal setting for any artist on an inward journey) with the 'I'm Lost' video [via NYLON]

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Australian pop extroverts Confidence Man return with new single 'First Class Bitch'. The band's extra-dimensional pop activities are the stuff of legend, with their lysergic live shows infused with glorious ear-worm melodies. New single 'First Class Bitch' injects some Confidence Man energy into this quarantine summer, and it's a dazzling return. The central hook is worthy of a Charli XCX project, with the neat, acid house leaning production tapping into the buoyancy of their famed live shows. Singer Janet Planet explains that the title 'First Class Bitch' actually has its origins in London. She comments... “I'd been thinking about this for a while now... It all started in London, when I saw a pair of socks with the words 'first class bitch' embroidered on them, hanging in a shop front window. I suddenly realised, I too was a first class bitch. I rushed back to the penthouse and penned this hit. Ever wondered what you hear when you die? This is it.” [via Clash]

#videos of the week #tomberlin #couch prints #jordan laser #pynkie #no joy #maya hawke #greta #clairy browne #mrch #elohim #confidence man

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