#and actually the first two episodes were brilliant‚ very strong examples of the genre

[mariocki]

David Jackson lends support to the regulars, as Police Constable Gibson in Softly Softly: Task Force: Diversion (1.3, BBC, 1969)

[streets-in-paradise]

Let’s talk about the amazingly on spot social commentary on The Boys

Warning: This post contains spoilers from Season 1 and the first three episodes of season 2 of The Boys 

Tags: @nehoymenyoy asked to be tagged. I don’t know if my tags are working well but if they don’t i will send you the link of the post. 

I decided to make this post because i finished all the avaliable episodes of the series two days ago and, having a long talk with my sister about this topic, i tought this is too awesome to not discuss it here. We are both studying in careers of the social field, i'm in sociology and she is in social work. We watched the show together and talking with her inspired my own ideas i would like to share here.

This show was a wonderfull surprise in terms of social commentary. I haven't watched one with such a great commentary since American Gods. In that case i was expecting some degree of progressive commentary because i had read the book previously and i was aware the source material had some, the one added for the series is even better and it was great, but it wasn't a shock to find it. For The Boys i haven't read the comics first and , even when i loved the show for lots of reasons, the amazing on spot social commentary was a hell of a surprise. I have been frustrated lately in terms of the messages in entertaiment products because, even when there is a lot of intention for part of the makers to make more progressive points in their stuff, everything becomes bland marketing to me most of the time. I remember that some years ago media used to came out unintentionally with some really cool progressive messages ( like, for example, " a bug's life" and its anti capitalist message). That stuff seemed soo genuine and today i feel that everytime a product targets my demographic in that sense what they deliver it's soo bland and fake that the progressive intention of the message gets lost in the absolutely obvious intention of selling something to me using my ideals as catch. Precisely this is an important point of critic in this show. I didn't expected at all to get a genuine feeling in the social commentary of a superhero show. I'm not saying that this means i think the makers believe in this (after all, it's amazon), what i praise here is how good they did it. In a time when most productions claim to have a social commentary behind to come out as cool but result in shallow fake bullshit this series has provided me with something that feels autentic. Like American Gods, what i feel the show is trying to tell me actually gets me.

Before starting with the proper talk i want to dedicate a few línes to recommend a few scenes of the show i just mentioned. I was super dissapointed after finding out they will probably end up turning it into more bland fake bullshit for season 3 but, to anyone who likes well delivered social commentary, check on Orlando Jones's scenes as Anansi. He is my favourite character from the show and all his scenes are a blessing. 

I would also want to clarify that this post and the opinions displayed on it are from an anti capitalist, intersectional feminist and latin american perspective. I know the show is very american, the issues it discusses are most of the time worlwide but it has particularities of the american context so i will try to talk only of what i feel i know enough to have a word. I'm argentinian and we have our local versions of some of this problems but i will stay in the series territory trying to be as faithfull as i can to the american reality it gets inspiration from. Also, forgive me for any mistakes on my writing and expresions. English is not my native language. 

Superheros are modern mythology. How would this work in real life?

This is the basic premise of the show’s worldbuilding. The great thing is that this concept is not developed in an edgy, pretentious way. It is serious and painfully real because it’s not only a subversion of tropes, it says a lot of what superheros are to us as a modern times myth. In a superficial view, the world of The Boys feels like what the MCU could have become after the Sokovia accords if they would have been efficiently followed on a worldwide scale.

In that particular universe i use as reference, our superheros are noble and morally heroic individuals.State intervention is the factor threatening to corrupt their actions making them follow the interests of the system. The risk there, along with some very shady violations of human rights to powered people, is having superheros tied to something as unstable as political power. You can fear, for example, what a Trump-like president could do if he had power over the Avengers because, again, the heros are not corrupt, their line of command is. Now, if we strip away all the idealization we had putted on this bunch of powered persons and see them as what they truly are at the end of the day, people like everyone else. Why are we supposed to believe they are immune to corruption? If we also consider the phenomenon of strong privatization of security that has been growing worldwide . Wouldn’t they be more like security workers working for a private contractor? Less like heros and more like private military / security officers?  Now, this is what we are talking about. 

What feels so different from this show is that it assumes a surprisingly realistic point of view on a modern fantasy we are very used to consuming and still constructs a new power fantasy that empowers the viewer. I’ m saying this as an MCU fan, I had grown too comfortable with this optimistic fantasy and this twist from it is brilliant. To put some context on what i want to say here i will try to explain myself first on why i think that superhero fiction have this enormous popularity today and it has become such a huge thing in entertainment. Besides of the obvious reason of big companies producing big exciting action blockbusters for the genre, it’s curious to think on how much these stories gathered a lot of progressive audiences. In past decades action blockbusters didn’t felt progressive, today’s superhero blockbusters were embraced by progressive audiences and this was the start of a twist in general for the media. I think that there is a contextual social reason for this, not the only factor but one i feel is considerable. 

Late Stage Capitalism crushed us, we are so used to injustice and the control the system has over us is so big that we have slowly stopped dreaming of changing it ourselves. Instead, the fantasy of a superhuman who has the power we don’t have saving us from oppression feels really comforting. Captain America becoming such a huge icon in the middle of a time where extreme facism is rising again all over the world, for example. I don’t know much about his comic counterpart but, at least from what i see in the movies, Steve’s ideals feel to me like all those aspects from French Revolution’s  Enlightenment that capitalism dropped away once bourgeois defeated their feudal rivals and capitalism got consolidated, the freedom and equality that feudal lower classes fought for. Today, we feel too small to make a difference so we enjoy the fantasy of powerful persons leading the fight for us. Capitalism feels more unstoppable than ever, it is the only thing who seems strong to remain in a terribly chaotic world. The suffering this cruel system brings to this world is overwhelming, we feel only a miracle can save us now. This is what feeds the narrative of the superhero as modern myth and saviour of humanity.

The Boys tosses aside all our hopes and dreams, presenting us with the most realistic escenario. Superheros are not the miracle we are waiting for, they are humans like everyone else. They are not sacred entities existing beyond our societies, they are part of the system and they insert on it as part of the security industries. They can be corrupted and they work in corrupt institutions in benefit of the ruling class like every other security provider in capitalist societies. They become a new face of the security forces in constant tension with police and military because the myth of the superhero provides them with the public trust those other two forces lost. People lost their trust in cops but they trust sups because they are supposed to be this noble individuals mobilized by their personal feelings of injustice trying to make the world a better place … right? Police are the forces of the ruling class but superheros are supposed to be with us, or at least this is what common sense and propaganda claim, having our hopes as a base to work on. 

For someone so used to the typical superhero fantasy this felt like a slap on my face back to reality. It soo accurate , the system tends to capture any revolutionary input and turn it into profit. Even if the sups could had been a revolutionary factor at the beginning, the most likely thing to happen is for them to become a profitable industry. If we add to this what we already know of the actions of police and military in our real world we have a combo for disaster. The realistic twist is so fresh and painfully real, i can totally see this happening in real life if superheros were a thing. 

We have already introduced ourselves in the world of this story, let’s check on the first main character this series introduces to us. Hughie Campbell, a college age guy who works in an electronics store, lives with his dad and has the most boring average life you can imagine. This guy who is too afraid to ask his boss for a pay raise changes overnight when a superhero kills his girlfriend in front of him and the big corporation the asshole works for covers up the whole thing. The “average guy becomes a hero” trope is not new at all, but the use it has here feels fresh because it is not there only to feed the male geek power fantasy. Hughie is not a geeky average guy only so geeky average guys can identify with him in an action series full of geeky references,he is not there to be the nerdy guy from Robot Chicken. Hughie’s characterization makes a point for everyone. The smallest most unimportant person, the one who can't even stand up for themselves in everyday situations, can make a change. Remember Samwise Gamgee fighting Shelob in Lord of the Rings? Hughie killing Translucent gives me that vibe. If we consider the point i already stated about superheroes being there when we feel too small to fight back injustice, this is the exact opposite. This is a fantasy that gives us the power, makes us think in our own strengths. Hughie is standing up for himself for the first time in his life and he inspires us to fight for our rights. 

Pharmaceutical,Security and Entertainment industries and their business system : Superheros as lab rats,elite security forces and celebrities. 

This part of the post is the hardest to write and the most exquisite. There is so much to talk about about this system Vought shaped tying these three billionaire industries together. The first thing i want to mention, as a point to start, is Butcher’s ramble over the teddy bear with a camera inside in his meeting with Hughie. Perfect introduction for the character with a delightful moment of commentary. In our current societies people live in constant fear for hundreds of reasons. Fears over street crime had skyrocketed all over the world even when crime is not growing uniformly in every country and that accelerated the privatization of security, fears of parents over the strangers they leave they kids with when they are not home inspired products like the one mentioned in the series’s moment, fears on the effects of processed foods are an impulse for the diet industry and i could keep naming lots of other examples. Fears, and the emotional response they trigger , are the base of profitable businesses. 

I had been reading some authors that describe this stage of capitalism as an emotional one. Capitalism preached science and rationality during the past century but today its base of support is an emotional one. To excite the sensations of the people as consumers, to eliminate rational criticism, to push anti popular agendas through emotional excitement and mass hysteria. To cite another example that you can consider bounded to the series, Right Realism in Criminology is now almost common sense and there are people who keep asking for harsher punitive systems. This ideology, with the help of media panic, goes straight after their feelings and fears of being victims of violent crimes. Rational thinking is not the area of discussion, the base of the argument is on fear and pain. Fear of being potential victims, pain shared with the victims thinking in solutions that sound more like revenge than justice. 

Going back to my point, in the world of The Boys this type of punitivism seems to have succeeded even in a greater way than in our current world because it has superheros as backup. If real life harsh punitivism feeds on fear and a wish for social revenge, in this world it has the positive emotions supes inspire on people as a trust certificate for the persons who may not feel that way. They are loved and worshipped celebrities, their faces are everywhere, they have thousands of fans… who would see flaws in what they do? Can you imagine a world in which we worshipped cops and soldiers like we worship celebrities? This is it, people put their blind faith in them because most of them seem to be their fans. Even the people who are against brutality in the actions of security forces would end up trusting them because they are famous people. Our culture has taught us to make ourselves blind to the bullshit we see on the celebrities we love. Fans have a strong emotional attachment to their favourite celebs and this can turn into emotional manipulation in this context. If actors or singers in real life can have a fanbase that forgets to see them as human people how would these actual superhumans not end up being worshipped as gods? 

There has always been military propaganda in entertainment but this marriage between the industries through superheros is far more sinister than that. It makes you think about the unfair amount of credibility we put in celebrities. The plane crash scene of Homelander and Maeve it’s even more devastating looking at it from that perspective. Those persons had their full trust in them and they were safer with the terrorists. Can you imagine being a Homelander fan and dying there?  That’s horrible, the last thing you get in your life is the biggest disappointment ever from someone you trusted and stanned. 

 Speaking of Homelander, he is a right wing wet dream and one of the best villians i had ever seen, he makes me feel sick with how fucking despicable he is. His character is an excellent point to start the ramble on the third wheel of this corporate nightmare. Superheros are products of the pharmaceutical industry, injected with a drug since they were babies. In his particular case, he was raised like a lab rat and the series is realistic even in this detail. The lab rat kid with superpowers is another common trope that we see pretty often and here it also gets twisted. I’m thinking for example on Eleven from Stranger Things, she has been raised by abusive scientists who treated her as an experiment, yet she is this sweet kiddo who has a hard time socializing. Instead, Homelander is a monster without conscience or mercy and seems to be severely affected by his abnormal childhood. Brilliant, he is the ultimate product of this corporative triangle and depicts everything that's wrong with it. 

The cycle is pretty clear: drugs create them, they play their role in security and their media notoriety justifies their actions. As it is shown in season one,  the security aspect of the corporate complex represented mostly in Homelander’s actions craves to grow bigger and get supes into the military since, in the startpoint of the series, they only work with cops. Since the industry feeds on fear and Vought seems to have a monopoly in the production of powered persons there were no threats big enough to justify the intervention of superhumans in wars. Dismissing the importance of this monopoly for the company, Homelander suministrates the drug to terrorist groups in an attempt to create the first super villains. This is a perfect analogy of how the american war machine works. There is no way for terrorist groups from Third World countries to get access to sophisticated war technology without help from the ones who wield that power better than anyone. The first mentions of the supe terrorists reminded me of when i was in my course of worldwide history in college and i learned there how most of those famous names in middle eastern terrorism were actually friends with the CIA before at some point. Here in South America we have other history regarding the style of USA intervention, the Plan Condor dictatorships in the 70’s and early 80’s. I was just starting my career when I had a month of history classes about the Middle East and, being pretty ignorant on the matter, it shocked me the way in which the US villainized people they used to work with. I think the series makes a great point with this part of the plot because it hints something of this war mechanics. 

Gender politics of the series: a surprisingly complex approach on the topic of sexual assault ,a realistic critic to bland white feminism and the empty cashgrabbing ways in which mainstream media adapts feminist discourse.

This topic was even a bigger surprise for me. I wasn't expecting such an interesting approach of gender issues, mostly because this is the area in which media wannabe woke messages had become more dissapointing to me lately. Specially in a show about superheros, i wasn't expecting to get very interesting points.

I will start talking of the portrayals of sexual assault. We have two sexually assaulted characters in the series, Starlight and Becca. First, i think it is great that they didn't used the "rape as character development" trope. Actually, it's cool how they mock this conceptions. When Starlight saves a woman from being raped on the streets or when she makes a public statement about her sexual assault it's the people behind her, building her public image as a character, the ones who push that trope. In the first time their great character development idea is to sexualize her outfit, after the second event mentioned they literally push her sexual assault as development. I love how the public relationships team acts oftenly in a men writing women way, serving as mirror for the most common mistakes of writers on pop culture products when they write female characters.

Going back to my point, i like the effort they putted into portraying differences in both cases. Homelander is the typical portrayal of a rapist, a narcisistic monster without remorse, a deranged son of a bitch. The Deep is also a piece of shit, but of a different kind. There is a phrase that feminists of my country had popularized " los violadores son hijos sanos del patriarcado" ( it means, the rapists are healthy sons of the patriarchy. It tries to explain they are not crazy individuals who act outside societal circunstancies), the Deep reminded me of that.

He is not crazy, he is an insecure guy with a super fragile ego who abuses women for power. Insecurity on men under patriarchy tends to become bashing of women. This is not a black and white portrayal of a sex criminal, it is surprisingly complex. Of course,his actions were unexcusable. He will never repay what he did to Starlight and other women before her but he has chances of working on his issues and, eventually if he trully wants to get better, stop being the scumbag he is. He is not a deranged criminal whose only fate is to be neutralized for the safety of others.

I think this is important because, at least in my country, i had seen people using sex offenders as an example of why countries without death penalty should implement it. I don't support extreme autoritarian security measures and it makes me sick to hear that there are people claiming those as solutions in the name of women's safety. I like the approach they took to portray The Deep as the piece of shit he is but still showing the complexity of this issue instead of going for a more traditional dichotomic way.

Back to the mocking of mainstream media's attempts of adopting a feminist approach i mentioned, the season two got even better at this commentary on the "Strong Female Character" trope with the introduction of Stormfront. She is the literal embodiment of what shitty marketing says an empowered female character must be and has the biggest "I'm not like other girls" complex ever. That interaction she had with Starlight in "pink = bad, pants = cool" mood was super annoying and blaming her for the assault?? Freaking disgusting.

Honestly, i hated her soo much even before she showed her true colours completely. Stormfront represents everything i hate in Hollywood's feminism and the crappy meaningless messages it's pushing lately. She reminds me to all the fake "woke" advertisements i had seen on tv, like a Carefree (pads brand) advertisement that pissed me off last week because with the slogan " self trust is beauty" it portrayed girls who wear make up as fake and insecure.

Now, speaking of that particular scene of her killing Kimiko's brother. I felt literally sick, even sicker than in every Homelander scene. This bitch is worst than Homelander because at least he gathers a public that serves to his views. If you ever need to provide someone with a proof of why intersectionality in feminism matters use this racist bitch. Horryfying racism hidden behind the progressive mask of a bullshit privileged version of feminism, the thing i hate the most. She has a strong nazi terf vibe. I think she absolutely applies as mirror of critic to stuff like Rowling's terf nonsense. 

The introspective look this series has regarding the multiple issues on today’s attempts of gender approach on media entertainment surprised me. It’s everything i would had wished something to point out but nobody seemed to have the guts to make it happen because, as i already said, the current trend is what it’s being focus of critic here. 

I will end this now, i feel there is plenty of more stuff to talk about but this post is getting very long and, if i get more ideas i want to discuss, i can always make a second post. As i said before, this expresses my humble opinions and i’m open to hear different interpretations that can enrich my views. 

Thanks for reading this extra long ramble. 

[x0401x]

Hey miss wonderful taste in everything, can you recommend us some of your favorite KyoAni productions?

Sure! I love doing recs and I’m literally taking any sort of positive content related to KyoAni lately because we truly need it at the moment. Long post alert, though. Here goes my top 10:

1. Hyouka

This one will probably be my first choice forever. It’s KyoAni’s most brilliant work so far and easily one of the best animes I’ve ever watched, hands down. It’s also their finest novel-to-anime adaptation in my opinion, and one of the very few animation series that actually turned out better than their source material.

The books are extremely interesting, but they’re also bland. The alterations made to the anime added visual value to it in order to make it more alluring and appealing, turning ordinary situations into rather unique and thought-provoking settings, while managing to never deviate from its novel counterpart. The changes on the characters’ designs were also a very good choice in my opinion, as they fit more into the character archetypes and the impressions they give off.

This one is honestly an example for the whole anime industry and a timeless gem. I’m pretty certain that it was one of the studio’s turning points in terms of animation style. Surely will become a classic in the future.

2. Koe no Katachi

KyoAni’s most well-done movie, as far as I can tell. I’m specially fond of the symbolism of every scene and the effort put on the scenery, which gave an effect of depth to the frames. The studio managed to portray the mangaka’s art style while staying true to its own trademark traits as well.

Animation quality and sound design aside, it’s also loyal enough to the manga. There were cuts in order to fit the story into the time limit, but KyoAni made up for the gaps with later released specials. The movie is also considerably less dramatic than the original, yet I’m certain that the alterations in that regard were made so that the transition between the phases of the story wouldn’t feel rushed. Albeit in a much more uplifting way, it nevertheless managed to transmit the characters’ essence and emotions.

What caught my attention the most in this movie was the soundtrack, though. There was a lot of care in its production, and it was clearly made to be gentle and almost imperceptible, with glitch-like repetitions here and there, as if it means to put the viewers in the shoes of the deaf heroine. It certainly did its job well.

3. Full Metal Panic? Fumoffu!

First anime from KyoAni I’ve ever watched, aside from the Inuyasha movies. Easily one of their funniest series, if not the actual funniest. It has a very special place in my heart. I dropped Amagi Brilliant Park on the first episode, but I’d cry internally every time I saw Bonta-kun in it. The nostalgia is strong, kids.

It’s got excellent animation for the year it was made, and I dare say it’s more decently animated than many current animes. The pacing is dynamic and the jokes vary from over-the-top to smart and witty in a smooth way. I also give this one kudos for not relying nearly as much on fanservice as more recent titles.

For the people who didn’t watch the first Full Metal Panic, I suggest doing so before trying this one out. Anyone who enjoys the two should also watch the second season, Full Metal Panic: The Second Raid, which comes right after Fumoffu and was also animated by KyoAni.

4. Clannad

This one I deem as the best out of KyoAni’s most notorious classics. I also recommend the other titles related to this one, such as Clannad: Another Story.

Much like Hyouka, it’s a masterpiece in every aspect. It has a very non-cliché and unconveninent plot that deals with delicate themes in a sensible way and tears your heart apart at the same time. Frankly exemplary to the drama genre and exceptional as a visual novel adaptation.

5. Free!

The franchise became lackluster after the first director left, but the first two seasons were fun enough in their own right. Unlike most novel-to-anime adaptations, Free! started with original content through creating a future for the main story, which was turned into the not-so-distant past in the anime. This is unusual enough, but it worked out well as the anime maintained itself as loyal as possible to the first book and never went off the rails with the plot. The main characters’ personalities did suffer many alterations, yet it’s obvious that they meant to make the two more charismatic and likeable. As far as fan responses went, it worked.

I find very interesting that the creators were aware the story took itself too seriously at times, and they made this clear by compensating the heavy melancholy with heavy comedy. They also compensated the overdramatic atmosphere of the first season by picking up the pace and getting a little more serious in the second season. Everything was intentional and designed to be a hit amongst women, which I think had served the purpose until the first movie came out.

To be honest, I’m not fond of the exaggerated fanservice, but it gets easy to ignore it after a while if you only pay attention to the storyline. I don’t consider myself a fan of Free!, and I actually took very long to start liking it. I only did get into it at the last scene of episode 8, back when the first season was still airing. It was only by this time that I could see the true value of the series, so I recommend anyone who tries it out to go at least that far with it. I know it might be a lot of work, but in my honest opinion, it’s worth the trouble.

I deem the High Speed! novel awe-inspiring because of its nostalgic tone and the awfully realistic depiction of childhood crises. The most serious situations of it are a little out of reality, but the rest is absurdly relatable in levels that I myself don’t know how to put into words. Yet I also appreciate Free! for its strong tone of encouragement. It feels like the creators are trying to cheer up the viewers.

6. Kyoukai no Kanata

It starts becoming a mess from episode 4 onward, yet the beginning was quite promising. This one relies heavily on fanservice, often makes use of nonsensical tropes for the sake of comedy and sometimes goes overboard with the jokes. However, it doesn’t fail to deliver emotional value and the action is pretty neat. Anyone who hasn’t read the novel will definitely be able to enjoy it as a standalone.

I don’t think I need to mention it, but the animation is stellar. I in particular love the blurry movement effects of when the characters draw their weapons and the geometrical spectrums in the colorful power barriers. I also recommend the OVA, as well as the second movie I’ll be Here, although the latter is 100% original content. It was actually cute and fun to watch. The first movie is merely one huge recap.

7. Hibike! Euphonium

Truly dazzling take on slice-of-life. It’s healing and heartrending at the same time. The way that characters are portrayed allows the viewers to feel their passion and dedication without it occasionally feeling unrealistic. Everyone has their own problems, but none of them are taken out of proportion. Miscommunication happens, just not in a frustrating shoujo manga way.

The soundtrack and scenery are breathtaking, yet the forte of the animation in this one was the huge amount of detail put into the eyes and hair. Everyone’s hairdos are remarkably glossy without ever looking weird, and I especially like how their eyes all glinter in different colors.

The author published another volume of the novel after the anime, saying it had inspired her to write more, and it’s no wonder. I also recommend season two and the OVA. The first two movies are just recaps and the third was to me a disappointment, so I leave those to people’s own discretion.

8. Tamako Market

Rather odd but nice story. It blends iyashikei elements with a peculiar plot and actually manages to do that in a cute way. All of the characters are likeable and the visuals do a good job in transmitting what they have to transmit in a very relaxing manner.

This show caught me off-guard by how unproblematic it was. It has trans, gay and dark-skinned characters, but none of them is ever used for fanservice or jokes and their respective circumstances are portrayed as 100% normal, which is sadly still rare in anime even nowadays. The romance is pretty not-dramatic and filled to the brim with fluff, and I very much like that the main guy treats his female love rival as a serious threat.

I recommend the specials and the movie as well. Especially the movie, which is basically the same as direct sugar injestion and gave me diabetes.

9. Munto

Also has a special place in my heart. Cheesy but good, actually. I’d be lying if I said there aren’t some surprises in it, though, but I’ll refrain from giving too much info on the story itself.

It was firstly an OVA, but then got adapted into three movies. The animation was done finely enough, but there’s a drastic change in style from the first to the second half, though I myself didn’t really mind it. The characters are all well-stablished and the plot is consistent. There’s a present quality of feminist shades in it and the relationships are very endearing.

10. Nichijou

Not really one of my favorites but certainly one that I recommend for people who are in need of a laugh. It’s got some pretty creative and iconic humor. Its imaginative retakes on routinely affairs manage to transform the most trivial real-life situations into Oscar-worthy wit. It also gets nonsensical every so often, but this fits within the show’s own narrative.

It has a very unique animation that sometimes mixes different styles of art, which only makes every scene a hundred times funnier for being so soft and adorable. It varies from hyperrealistic to surrealistic at the speed of light and sometimes even becomes abstract as hell. It’s full of notes on Japanese culture, not only about daily life but also about media, which adds up to the fun.

[stokan]

Top 20 Things of 2018

1.) Beychella How do you make a long awaited surprise album between two of the biggest names in music that is also one of the year’s best feel like complete afterthought? Set the bar as high as Beyonce’s Coachella appearance.

First awards show performances, then music videos, now music festival gigs: is there anything that Beyonce CAN’T turn into high art?

2.) Explained by Vox The most exciting development in the world of television in 2018 was radically breaking the rules on episodes length. We saw 30 minute dramas, and hour long comedies. We got shows like Maniac where episodes were as long as 49 minutes and as short as 27 minutes. Now television creators can tell exactly the stories they want to tell in however much time they want to tell them in. And perhaps nowhere were these loosened restrictions taken better advantage than Explained, Vox’s documentary series for Netflix. Many topics cant sustain a full length documentary, but, say, 14 minutes explaining cryptocurrency to me? Sure! 17 minutes on designer DNA? Sounds great! 20 minutes on the origins of K-Pop? How do you say “yes please” in Korean? Every episode has a different narrator, a different look, a different feel, and varies wildly in subject matter. Yet they are all exactly the length they need to be. The only thing left I really need explained to me is why no one thought to make this series before.

3.) Serial Season 3 If Explained was a great example of the latest evolution in television, then the new season of Serial is at the front line of the evolution of our newest artistic medium: podcasts. Serial’s third season was nothing like its second, which was in turn nothing like its first. It’s a series still figuring out what it CAN be, while now defining forever what it NEEDS to be. Serial this year explained a deeply important topic in a way that wouldn’t have been possible through any other medium. They always say if you’re a writer you have to ask yourself what form of writing your idea needs to be. Don’t write a play that’s really a TV show, or a movie that should be a book. And now we can add to that don’t make a TV series that’s really a podcast. As Homecoming proved this year, the two mediums are very different and better equipped to tell different stories. And after hearing Serial Season Three I can’t imagine there will ever be a better way to explore the current American criminal justice system. It was 2018’s version of Upton Sinclair’s The Jungle. It may not change national food safety standards, but it hopefully will do something perhaps even more important: it will make us never again take lightly the election of local judges and sheriffs. It was a podcast for the heart, the head, and the time capsule.

4.) Black Mirror - “Hang the DJ” I know this technically came out December 29th 2017 but I’m counting it here because nothing was more 2018 than this. The sadness, the isolation, the uncertainty, the living in a world you don’t understand the rules of anymore, the unfairness of modern life, but the ultimate perseverance of hope and love: it’s all there in the best episode of Black Mirror’s third season. It made me cry out of sadness and happiness in equal measure. Could anything be more 2018 than that?

5.) Kesha at the Grammys Ok so maybe one thing was more 2018.

The Grammys, an organization led by Neil Portnow, a man who said this year that “women need to step up”, and an organization that didn’t offer its one female Album of the Year nominee a solo performance spot, also offered us 2018’s most powerful show of female solidarity and one of the most moving moments of the Me Too era. It all amounted to the perfect encapsulation of this year. Kesha scream crying and then collapsing into a sea of strong supportive women WAS 2018.

6.) Eighth Grade My favorite movie of the year was also the year’s best horror movie. It was so real, and visceral, and intense, and frightening that at times I literally had to remind myself to breathe. I watched at least half the movie through my fingers and on the edge of my seat. Proving what everyone who has lived through it already knows: there’s nothing in the world more terrifying than being in junior high.

7.) Big Mouth Speaking of junior high, the other side of the pain and trauma of growing up is humor, so why it took this long for someone to make a comedy series explicitly about puberty is beyond me. I guess, of course, making a show like this work is a fine needle to thread. It wouldn’t work without being animated and being on a streaming service that lets them go as far as they did. It wouldn’t work without writing that is both laugh out loud funny and deeply compassionate and human in equal measure. And it wouldn’t work without one of the best voice casts on TV, including a true tour de force from Maya Rudolph. But work does it ever. In a just world junior high health class homework would be simply watching this show.

8.) Emma Gonzalez speech Here’s how long 2018 was: this was from 2018.

Finishing off my personal 2018 Growing Up Trifecta is the most powerful 12 minutes of the year. That high school students could be more inspiring, articulate, and better leaders than the President of the United States is sadly, at this point, a given. But that they are now more effective and efficient than him at starting genuine political movements still feels revolutionary. The kids are our future, and our future has never looked brighter.

9.) Childish Gambino - “This is America” video 100 years from now if theres only one cultural artifact that still exists and is still remembered from 2018 this will be it. A “you know where you were the first time you saw it” level cultural event. No song will ever be more closely associated with its music video, and no music video will ever be more of an avatar for an entire cultural moment than this. THIS is, of course, a truly shocking and horrifying (in a good way) music video from the former fifth lead of the TV show Community. A profound and brilliant piece of art underscored by a fun-sounding dance song. The year’s most complex and important social-political message delivered in 4 minutes via YouTube. This is America indeed.

10.) Drake - “God’s Plan” video While Donald Glover may have perfected the music video as art form, it goes without saying that long ago Drake mastered the music video as promotional tool. And in that sense the music video for “God’s Plan” seems like minor failure. It seemed to sort of come and go from the culture, especially in light of the success of the In My Feelings Challenge. But for me, there was nothing more heartwarming and human this year than watching Drake give away almost a million dollars to strangers. It was an idea so simple it’s shocking no one had ever done it before. And so affecting I was shocked it didn’t seem to penetrate the public consciousness more. There’s so much going on at all times now it’s hard for anything to truly break through all the noise, but this really deserved to. It’s impossible to watch this without smiling, and is there anything 2018 needed more than that?

11.) Nanette The dumbest debate this year was whether or not Nanette was stand up. Form and genre aren’t delineators still worth discussing in 2018. It’s now only about the message and the messenger, everything else is just details. An important fresh voice, the most timely, and sadly, timeless message imaginable, delivered in a way that reached and deeply affected seemingly every person you knew? What is there to debate? Nanette may or may not be stand up comedy, but it’s definitely RISE UP comedy. And in the end, that’s all that matters.

12.) Amber Says What Please click on the link above. The final two minutes are by far the best comedy of 2018. It still makes me laugh so hard that it causes me physical pain. You’ve been warned.

13.) A Star is Born trailers A Star is Born is maybe a perfect film. The performances, the songs, the direction, the fact that there’s literally no human being on earth who could have played her part and made the movie work like it did other than Lady Gaga. It was all perfect. But there was actually something better than watching A Star is Born: anticipating watching a A Star is Born. Before the first A Star is Born trailer came out I thought the whole project sounded dumb and unnecessary. After I finished watching the first trailer I knew I was going to see A Star is Born opening night. True story: I was at a movie where the same A Star is Born trailer got played three times in a row for some reason. And it was riveting every time. There was no grumbling at all in the audience, and I for one was sad when it didn’t replay a fourth time. So as much as I loved A Star is Born what I would really love is be able to still want to see A Star is Born for the first time.

14.) Ariana Grande - “thank u, next” It’s genuinely impressive that a song released in November could be the song I listened to by far the most this year. Somehow it took less than two months for this song to feel completely ubiquitous. Hell, even the PHRASE “thank u, next” is omnipresent now. Forget Song of the Summer, this was maybe our first Song of the Winter. Which is perfect because has a hit pop song ever sounded more winter? It’s cold, but it keeps you warm. It’s the sadness of the holidays with the life reaffirming joy of the holiday season. It’s a sweater for you to wear on the dance floor. And it’s clearly exactly the song so many of us needed. No matter how many times I’ve heard it (and as I said, I’ve listened to it, uh, A LOT) its existence feels like a holiday miracle. Having a new and fresh take on the breakup song in the year 2018? That shit IS amazing.

15.) The proposal at the Emmys This is literally the only thing anyone remembers about this year’s Emmys. It was amazing, and special, and made anyone who watched it believe in true love. But for me it still cant touch the most heart-melting awards show moment of all time: https://www.youtube.com/watch?v=lCJrku4fSxk

(Was this whole entry just an excuse to link to one of my absolute favorite YouTube clips? Perhaps.)

16.) Succession When I saw the promos for Succession I literally made the sound UGH out loud. The last thing the world needs is another show about rich white people behaving badly, I thought. How could there possibly be anything original left to say on that topic? Who on earth is still greenlighting shows like this in The Year of our Lord 2018?

People much smarter than I am clearly, that’s who.

Because from writing, acting, production design, direction - whatever element you want to focus on - this was the best and most exciting new show of 2018 by a wide margin. People have been saying for years that TV is the new movies; this show made movies look like the old TV. It was the most vibrant and perfectly crafted big budget feature film of 2018, stretched out over 8 episodes on HBO. Did it have anything new and important to say about the world? Probably not. And turns out, I couldn’t have cared less. The phrase compulsively watchable might have been invented just to describe the world these actors and writers created. I would watch the team involved with this show dry paint. 

17.) Angels in America on Broadway Angels in America is the best play of the past 30 years and its not even close. So the fact that it would get a production that’s this good is just unfair for everyone else on this planet who makes theater. It was so good it made all other plays I’ve seen since seem small and cheap and unimportant. It was such a towering achievement that it has made the entire rest of theater as an art form seem insignificant by comparison. When you hear old people talk about seeing Brando in Streetcar or watching the original production of Death of Salesman I now can relate to what they are talking about. I’ll be thinking about Andrew Garfield’s final monologue for the rest of my life. It was unfair that we the audience had to all leave the theater when the lights finally came up and that we couldn’t all just live in that feeling forever. The eight hours I spent watching this play are what art is all about.

18.) Jesse Plemons in Game Night If dying is easy, and comedy is hard, then they should cancel the Oscars and give Jesse Plemmons Best Supporting Actor right now for his work in Game Night. And ok, maybe it wasn’t the BEST performance of 2018, but it was DEFINITELY the best performance relative to what it needed to be. It should have been a dumb throwaway part in a big-budget mainstream ensemble comedy. But Jesse Plemmons crafted a performance so strange and singular and memorable that it elevated the entire movie into something way better than I’m sure even its creators expected. I legitimately don’t know how everyone didn’t break in every one of his scenes. It’s a master class in the comedic power of silence. It should be studied in acting classes everywhere. And 20 years from now when Game Night is considered a comedy classic, Jesse Plemmons will be the main reason why. You heard it here first.

19.) The 1975 - A Brief Inquiry Into Online Relationships Saxophones? Electric guitar solos? Backing choirs? A concept album about being uncomfortable with the internet? Dumb pretentious song titles? This album couldn’t be any more in my wheelhouse if I made it myself. Its best song is basically a modern reimagining of “We Didn’t Start the Fire” for God’s sake!

For me this wasn’t just an album, it was an experience. It was big music to get lost inside of. And I did. At age 36 it’s nice to know that sometimes I can still feel 16. And it’s fitting that a band named The 1975 would be the ones to make music that’s so transporting.

20.) Emma Stone Ok so as someone who once argued in this very space that Emma Stone deserved an Oscar nomination for Easy A, it’s clear I’m pretty deep in the tank for Emma Stone. But even an Emma Stone hater would have to admit than this was a banner year for Emma Stone. Signing up for the insane acting challenge that was Maniac and completely acing it while totally exposing two-time Oscar nominee Jonah Hill in the process? Going toe to toe with Olivia Colman in the battle of the best acting performances of the year in The Favourite? Coming across as more charming than Jennifer freaking Lawrence ?!?

2018 was Emma Stone’s year, we were all just living in it.

[oscarlovesthesea]

Hey! Let me just start off by saying I'm very glad I found your blog and a fellow Dirk Gently lover. Its an amazing show. I saw your previous post about last nights episode and I just wanted to know; do you think that Broztly is going to become canon? Because I really want it to. A lot of people in the show have acknowledged that they thought something was up between them in every single episode so far this season. Do you think that its just a running joke or Max foreshadowing something?

First of all hi, nice to meet you! I love Dirk Gently so much, it’s such a brilliant show and literally all the characters are my children (except Priest, he can choke. And after last night’s episode Friedkin is in probation, let’s see how he does.)

To answer your question… honestly, I have no idea? The whole thing is a bit complicated and I’ve been in fandoms for way too long to actually give you a clear cut answer… okay, I’ll try to explain my thoughts properly under the cut:

So, the thing is, I would *love* for Brotzly to become canon. Also, I think it would make sense from a narrative point of view, because it seems to me like Dirk and Todd’s friendship is developing always more deeply, to the point that it feels like it could become something more. As you’ve mentioned already, the fact that characters have actually acknowledged it is meaningful because in Dirk Gently everything happens for a reason, and in this way they’ve really put a big sparkling sign that says “YO, TODD AND DIRK MIGHT BE GAY”. Also, once again, those two scenes I was shouting about earlier seemed particularly important to me: in the first one, Farah literally reminded us that we have literally no reason to believe that Todd and/or Dirk are straight, and the second one just… felt a lot like flirting to me? Because first you get Todd giving Dirk a speech that parallel one that Dirk had given Todd on one of their very first meetings, but this time in very different circumstances (they’re very close to each other now, and if the first season resulted into them becoming close friends, I can imagine this one ending with them becoming lovers as a sort of, natural progression?) and then there is that accent bit, which is so soft and pure, oh my god. but to be a bit more serious, I rewatched it a few times to understand what, exactly, had given me such a strong “they’re being interrupted” vibe and I’vecome to the conclusion that the way the whole scene is set gives you thatimpression: lights are dimmed, which implies an intimate moment, and the shotis really close to Dirk and Todd, so that you can hardly see anything else, andwhile Dirk says “no, I love it”, you can actually see him starting to lean veryslightly towards Todd – and then Tina (who in the episode has alreadyacknowledged the fact that there’s  a “vibe”between then) comes in and the camera abruptly pans out, and at the same timeyou see Dirk leaning back with his shoulders a little bit. The whole thing isconstructed to give you the idea of an intimate moment being interrupted (or, Imight just be reading too much into this – you know, I literally have friendswho are film students, maybe I should ask them instead of making shit up). Whichobviously leads to questions: how intimate was this moment really? Will we beseeing more of this? Will they get closer to each other? And I don’t know, itwould be wonderful for them to actually get together, and a bunch of things inthese episodes seemed to hint at it (“Todd, he’s perfect”, the way the huggedwhen they found each other again and so on). 

Onthe other hand, I’ve been queerbaited way too many times to tell you withcertainty that this actually means anything. I literally still have people onmy dash still hoping that Destiel might become canon (and shit, sometimes myheart still hopes for it too in spite of any logic) to tell you the level ofdesperation I’m used to deal with. And to be honest, I can see a bunch ofreasons why Brotzly may not become canon: for example, the whole first seasonwas constructed on Dirk finally finding a friend, so people might just be happyto label whatever is going on as bromance and leave it at that. Also, I shouldpoint out that the season already has one canonical gay couple plus acanonically bisexual character which, compared to lots of mainstream tv shows,is already… a lot. No, seriously, as a sad gay who will literally watchanything for one gay character (not even joking, I caught up with more thanhalf a season of Riverdale when I found out that they’d done a Kevin-centricepisode), the only adventure/sci-fi/epic tv shows I can think of with morequeer characters are Sense8 and Black Sails, both of which were pretty uniquein their genre. And while DGHDA is certainly unique as well, the questionreally is, will Max Landis actually want to go that far? And that is a questionI really don’t have the answer to.Closing with a glimmer of hope, though:there was a video from some months ago of Max Landis suggesting that we mightexplore Dirk’s sexuality more in this second season, and since literally nothingand no one will convince me that Dirk is straight and that we’ve been promisedlgbt characters in this season, we can hope.

Sorry I ranted so much and haven’t actuallyanswered anything, I just had a lot of feelings about this! Have a good day!

[airadam]

Episode 122 : Drop It Heavy

"Scripture tell me no one excluded when rain drippin'..."

- Tobe Nwigwe

This month has been a rough one, but here we are once again with a brand new selection for your headphones and speakers! We remember the great KMG, and then sprinkle the selection with some strong UK tracks, overlook gems, rapid genre jumping, and one absolutely amazing remix. While individually there aren't many obscurities in the mix, I'll be impressed if anyone already knows every track on here...

Twitter : @airadam13

Playlist/Notes

Above The Law : V.S.O.P (Remix)

Been waiting a long time to play this one - it was quite a few years of looking to find a decent 12" copy (thanks Discogs!), and then it was one I was determined to save for an anniversary of KMG's passing. The original from the excellent "Black Mafia Life" is proto-G-Funk, but this version puts a just a touch of extra chaos (and bass) into the mix, courtesy of Cold 187um on both occasions. An ode to late-night partying and cognac, but still bringing the battle edge to the second verse, this has KMG handling the hook solo but going back and forth with Cold 187um on the mic. A much underrated tag team from the west!

Jigmastas : Too Ill (Instrumental)

I love the fact that the "Resurgence" album came with a complete set of instrumentals, just so you can get that DJ Spinna flavour undiluted - here's just a taste!

Tobe Nwigwe ft. FAT : PEEP GAME

Another #GetTwistedSundays killer! I'm bringing this Texan back for a second appearance in the last four months, with a track I think a lot of you will really enjoy. The producer Nell brings a fresh style, with some great change-ups in the beat - and the other half of the bargain is held up with skills galore. Tobe absolutely crams meaning (and syllables) into his devastating monotone flow, and his wife FAT provides a great spoken-word-like breakdown in an efficient eight-bar appearance. This is a trio of brilliant artists (along with their video crew) doing amazing things.

BADBADNOTGOOD ft. Kaytranada & Snoop Dogg: Lavender (Nightfall Remix)

Canada's BBNG first released the original version of this track on their "IV" album, but Snoop Dogg heard it and somehow knew it could benefit from his own unique enhancement! This version ended up as an inclusion on his 2017 "Neva Left" album; his added verse addressing police brutality, in addition to the controversial video, thrust it into the consciousness of a much larger audience. 

DRS : All Time High

I was reminded of this track from the new "From The Deep" LP when DRS performed it live at a Manchester International Festival event recently. He's one of the most important artists the Manchester scene has ever had, with his influence spreading far and wide - whether fully acknowledged or not. While he's now mostly known for his drum & bass work, he was of course one-third of Broke 'n' English (alongside Strategy and Konny Kon) and this album has him displaying his Hip-Hop skills over the production of Pitch 92. 

Lowkey : Hand On Your Gun

If you like politics in your Hip-Hop, then Lowkey is someone you should definitely be checking for - a British MC of Iraqi descent, he brings his worldview to the mic with strength every time. His second album, "Soundtrack To The Struggle" gives us this stinging condemnation of some of the big players in the global arms trade, with ShowNProve providing the Wild West-themed track.

Kaytranada ft. Karriem Riggins and River Tiber : Bus Ride

A nice instrumental from the "99.9%" album. The guest star Karriem Riggins gets busy on the drums in a subtle way through most of the track before showing out right at the end with a little double-time flair!

Children of Zeus : Respect Mine

"Travel Light" is now a year old and it's still getting just as much play as it did on release! Juga-Naut on production, Mr.Thing on the sharp cuts, and Tyler and Konny Kon putting it down on the mic make up a major league quartet.

Robert Glasper Experiment ft. Norah Jones : Let It Ride

As strong as this track is, it's not even one of my top three from "Black Radio 2", which speaks to just how good that album is! Mark Colenburg earns his money on the double-time drumming that you'd think had to be a programmed drum machine, setting a furious pace that the rest of the groove languidly follows. The bass and piano are low-key and do their thing without upstaging Norah Jones on the vocal of this classy cut.

Janelle Monáe : Cold War

This is an absolutely furious cut. The video is definitely worth a watch - similar to the one for Sinead O'Connor's "Nothing Compares 2 U", it stays focused on her face for the entire running length and is packed with emotion, as are the lyrics. Clearly one of the standouts on "The ArchAndroid", with the themes of isolation and struggle articulated by one of the best artists of this era.

OutKast : B.O.B

I've been wanting to do the blend from "Cold War" to this for ages! One of my favourite tracks from this duo, this pretty much made my brain explode when I first heard it back in 2000. I was surprised to find out recently that this wasn't a big hit even on the R&B/Hip-Hop charts, but they were actively trying to go against the grain and a lot of the audience probably just wasn't ready. To me, this is Andre and Big Boi at the peak of their lyrical games, keeping up with a track that really would fit the name "organised noize" - but was actually produced by the group themselves alongside Mr.DJ. That's a real gospel choir you're hearing on the hook and the outro, a really serious guitarist letting loose all over the track, and a real MPC being beaten into submission for those drums. Stone classic from the "Stankonia" LP. Oh, and "got a son on the way by the name of Bamboo"? Well, time flies...

[The Alchemist] Cam'ron : Wet Wipes (Instrumental)

This fit the bill here as something electronic-sounding that was also half the speed of the frenetic OutKast track, allowing us to come back down to earth a bit. The Alchemist cooked up a thudding, menacing beat for what was a typically disrespectful Cam'ron track from 2006's "Killa Season". This was actually Alchemist's first MPC beat (he was a devotee of the ASR-10 up to this point) and has the chopping and aggression that is very reminiscent of a track he did years later, Raekwon's "Surgical Gloves".

The Lady of Rage : Raw Deal

I finally sat down to listen to the "Necessary Roughness" album from front to back for the first time recently, and I can confirm that it was indeed slept-on. This was probably a consequence of it being pushed further and further back by Death Row, until it finally got a very quiet release in 1997. If you'd forgotten about the skills that made her a people's favourite, here's a reminder over a Daz Dillinger and Tyrone Wrice beat, laid-back enough to give her the space to get busy. 

Glenn Lewis : Don't You Forget It (Curtis Lynch Remix)

FIRE 🔥🔥🔥🔥🔥! The original Glenn Lewis cut from "World Outside My Window") has always been a favourite of mine, and it's one you don't want to mess up with a clumsy remix - for example, the Desert Storm attempt with the most "missing the point" guest rap verse in music history. I can't remember how I found this one, but it stunned me - the re-interpretation is perfect. Lewis is from Trinidadian and Jamaican roots, and the move to connect with someone like London's Curtis Lynch for this remix was a natural but also an inspired move. It sounds like this one has been re-voiced rather than just swapping instrumentals, and it's a rootsy dancehall masterpiece with the drums, bass, and every single accent on point. Turn this one all the way up!

London Grammar : Non Believer

I'm not even sure what genre you'd count this as - Wikipedia claims "indie pop", but even that doesn't quite hit the mark. For me there are definite vibes of what they used to call "trip-hop" - I can imagine previous eras of Portishead or Massive Attack doing a tune like this. This track from "Truth Is A Beautiful Thing" is itself a melancholic beautiful thing, with Hannah Reid's crystal-clear vocals soaring over the moody beat.

Sean Price & Illa Ghee : 2Pac by the Locker

If you know "Juice", you know what this title is all about! I'd describe the track as "short and sweet", if there was anything remotely street about it. Sean P and Illa Ghee come through like a pair of brass knuckles as they do on every other cut on the "Metal Detectors" EP - just beasting.

Jake One : Gangsta Boy (Instrumental)

Coming through slamming like a new take on Dre's "Lyrical Gangbang", this is a monster of a beat from Jake One's "White Van Music Instrumentals". It had to be, since the MCs on the vocal version are the rugged neva smoove M.O.P.

Raekwon : Canal Street

Raekwon is one of the greatest picture painters in Hip-Hop history and this is an absolute art masterclass. From the first lines "All of our fathers is bank robbers, holding TECs/Eights of hero'n, shooting in the steps" he grabs your mind's eye and never lets it go until the track ends. Flawless street imagery all the way from "Only Built 4 Cuban Linx...Pt.II" to such an extent that the video actually takes away from it! Icewater Productions bring a fairly well-used sample in that brings the crime-flick menace the lyrical content demands. One nice touch on the production side - the sudden turn up of the volume in a matter of a beat or two in the transition from the intro to the first verse - definitely makes it hit you in the chest.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

  Check out this episode!