#the performances are so charming and so committed. and this was the 90s. like. what a lovely surprise

[novelconcepts]

I finally sat down and watched To Wong Foo, Thanks For Everything! Julie Newmar last night, and the whole movie was a gift, but seeing Robin Williams in a brief uncredited role was the opposite of a jumpscare. It was like getting five more minutes with a friend you thought you’d never see again. What a wonderful little moment in a wonderful, iconic piece of queer cinema.

[the-90s-music-colosseum]

Quarterfinals, Match 2

expand to see all propaganda received! (wall of text warning oh my god this is a severe cautionary message)

Lauryn Hill:

"she paved the way and was hot as fuck the whole time"

"Girl c'mon. Look at her. You're gonna try and tell me that isn't the most beautiful and attractive person alive? Okay. You're lying but okay."

"if u freaks don't give ms. lauryn hill the respect she deserves..."

"actually one of the prettiest women ever I'm such a lesbian for her. like irl I'm already a lesbian but she is helping"

Damon Albarn:

"Don’t think Damon should be here? Why don’t you get your head checked by a jumbo jet? Maybe you’ll feel heavy metal and calm down."

"If Damon is in the “some guy” category, he’s the heavenly and heartbreaking version. Damon is the sort of significant stranger I’d see on the train out of Colchester but could never speak to, just a face seen in passing yet too radiant to be real. I’d fall in love for an hour and carry the ache for a month."

"Damon sets the standard for me. I think he’s the most fascinating man alive. What I find attractive in Damon is not just his gorgeous bone structure and boyish charm, but how wholly he’s committed himself to music. Damon is an artist who walked the walk: in one of his roughest years with some of his rawest songwriting, he said he was no longer excited by anything except the creative process. He was disillusioned with the celebrity of it all, with his relationships suffering for it, and only wanted to make art: nothing more, nothing less. He would go on to compose film scores, write operas and stage musicals, produce other artists’ records, form collectives to fulfill his passion for world music, and create some of the most globally successful music of his career in a completely innovative format that placed him as the phantom behind the characters. Whenever one band takes a break, he makes a solo record or puts together a supergroup to stay busy. He’s uniquely collaborative and still writes personal letters inviting artists to record with him, and yet can function as a one-man show, acting as a multi-instrumentalist, a singer-songwriter and a producer. He’s been a constant voice of bringing British music to the world *and* bringing world music into Britain. Sure, he’s won Brit Awards and a Grammy among others, but he also has a Guinness World Record and was named an Officer of the British Empire for his services to music; his long work with Africa Express earned him respect even from peers who’d previously dismissed him, and his commitment to support his Malian collaborators in the face of violence earned him the title of Local King in Mali. There is so much talent in the world, but there is truly no one else with a career that looks like Damon Albarn’s. Damon is far more than just a prettyboy to look nice on a magazine cover, but looks are the ultimate point of this tournament, so make no mistake: he was terribly, terribly pretty. You watch him performing in the 90s, you sift through photoshoots and interviews and documentaries, and it feels *cruel* how beautiful he was. If his talent was god-given, so was his face. To put a bow on this thesis: I don’t know if Gorillaz and Damon’s musical universe would be the experimental, globe-trotting, boundary-pushing community affair it is if Blur hadn’t become such a central figure in Britpop and if Damon had not been made such a media spectacle, and I don’t know if Damon would have been that spectacle if he wasn’t so ungodly pretty. The domino effect is that Damon’s cherubic face launched a thousand multimedia art school projects for decades to come."

"I wish I was basically any bloke in the 90s so I could tongue Damon Albarn down. Damon will see a man and ask “is anyone gonna kiss that?” and not wait for a response."

"I have a pillow with his face on it. I sleep with it every night 😊"

"“I’m more homosexual than Brett Anderson, always have been. As far as bisexuality goes, I’ve had a taste of that particular fruit, or have been tasted you might say…” is just the rawest most Shakespearean statement ever"

"he is the ultimate Pretty Boy ™. his glorious golden locks, his electric blue eyes. he is if Princess Diana was a Britpop Dude. he is the Regina George of Britpop. he is if Aphrodite took male form. Zeus would come down to earth to fuck him if he knew. he is a caffeinated orange cat let loose. he is deranged. he is unhinged. you never know what will come out of his mouth. he had sexual tension with every single man who knew him. he pulled justine fucking frischmann. his aura knows no bounds. he is a siren. he is a weird guy. but being so gorgeous stunning ethereal didn't stop him from also being one of the most prolific songwriters of his generation"

"THE MAIN BLUR"

"literally where do i even begin. i could write entire essays on this man. a good place to start would be the beetlebum music video, i suppose. i'll never forget the first time i watched that music video. something in me changed, my brain chemistry was altered, my life was never the same, i view the world a lot differently now. and a lot of the viewing i'm doing is of pictures of damon albarn's face because of boy do i have a lot of those saved. every time i try to look for a photo of something on my phone i can't find it because there's so much damon. okay that's maybe an exaggeration but this man has the most unfathomable beauty ever. his eyes? HIS EYES. god dammit i love his eyes i want to stare at them until the end of time like nothing else exists. i'm so normal about this man (lying) and while i'm usually very shameless about my interests i'm actually incredibly glad this propaganda is anonymous because otherwise. yeah. but the world deserves to see damon albarn's beauty and also hear his fantastic voice because what the fuck. his voice is literally the most gorgeous sound ever produced like bro sounds like that and expects me not to fall in love? i want this man to sing his silly songs and talk absolute nonsense to me until the sun eventually blows out and the world ends. cmon damon girlies let's demolish this tournament i know there are a lot of you."

"He’s beautiful. He’s a little rat. He’s a sweetheart. He’s a dickhead. He’s a musical genius. He’s a dumb bitch. He’s a jock. He’s a weirdo. He’s real. He’s an illusion. He’s everything. He’s just Damon."

"DAMON DAMON DAMON where do I begin oh jeez I've hyperfixated on this man for a solid 4 years and still going strong. Damon makes me wish that British people are real. That says A LOT. This man created a whole ass ANIMATED BAND WITH A SHIT TON OF LORE as a SIDE HUSTLE??? Not to mention, what other man has collaborated with Stevie Nicks, MF DOOM, Del the Funky Homosapien, Snoop Dogg, AND Beck?! People, we're literally in the presence of a god. And he's STILL GOING. Anyways, TL;DR, damon is so so so neat and cool and he should definitely win this competition. Thank you."

"Okay 90s Damon is The Perfect Boy yes yes, but the people who parrot the Daily Mail and say "he's ugly now" will never understand. I would still suck every drop from him on his deathbed."

"Vote for whoever you want to. But Damon is so pretty."

"i did not spend hours admiring this beautiful man's face on pinterest just to see him lose."

"Damon Albarn just brings me joy. When I'm watching him perform, following along as the camera lingers on and adores his pretty face, I get butterflies like I'm 15 again. It's nice to still feel that totally unguarded giddiness sometimes."

"God let the intrusive thoughts win making Damon. What if he's a beautiful blond twink with eyes like saucers and dick to his knees, he reads Herman Hesse and plays footie and is insufferable about both, he'll be the most prolific musician of his generation and write operas and seminal albums in 5 different genres and also he's gonna be the dumbest bitch alive? He'll also be kinda bi, but only kinda. And send."

"when i found out about his existence, my life was changed forever. i wish i could use him like the hannah montana boot milk pillow and chuck him at the wall so he makes a loud thud"

"Think of the drama and anon fights it'll cause if Damon wins it all! And think of how quiet it'll get after Damon's out. You'll miss him when he's gone, like memories of a noisy house years after it's grown silent. Choose Damon, and keep the messy train chugging."

"Even the Gallagher brothers have the hots for him."

"Kiss kiss I love him also you can't vote for any of the Seattle men they're literally copy and paste it's not fair. We need Brit representation"

"I want to take care of him, I want to provide for him. I need to gauge his baby blue puppy dog orbs out to I can clean them with wood varnish, paint shades of Pantone 320 C in his eyes, spray eau de parfume by dior in them and sew it back into his eyes like that scene in Toy Story 2."

"Seeing as simply filling the page with ‘Damon’ written 10000000 times isn’t going to cut it 😅 may I admit/submit: I DO have him tattooed on my being (no descriptive, is this anon?); he’s inspired somewhat unhinged late night/early morning fandom conversations in which I’ve served as ‘parish’ priest hearing confessions from all manner of folk about what they’d like to do to him/receive from him; sadly I lost an essay where I detailed why the letters that make up his name suit him so well, and described him as the hot caramel sauce to Graham’s cool vanilla ice cream. He’s a faerie princess with a nose that makes people weep and a voice that feels like the warmest home and he gives amazing hugs. He loves trains and chickens and his tuxedo cat. He’s annoying and sweet and somewhat unhinged and his music saves people and all this is on top of that fantastic dick. He’s a dream yet very real and we’re fucking blessed to be on earth at the same time as him, amen"

"Damon Albarn was a beautiful, beautiful boy. The world saw that, regardless of if every individual reading this has the same taste in men; it felt like a truth of the universe at the time. They don't make celebrities that angelic in face and erratic in personality anymore."

"I need to touch his eyebrows, nose and prostate just one time JUST ONE TIME COME ON"

[nj-6-girl]

Micha, since debut has been known for her beautiful appearance and from a young age she earned her spot among the most beautiful idols in Korea and women in the world. Most plastic surgeons stated that Micha has the desired face and body shape and many women who come to their clinics ask to get a result as close as possible to Micha's face or body. And there are many comic books artist who drew their female characters with her as an inspiration in their mind for the appearance.

• it is a known facts that all of newjeans members have beautiful healthy hair, and Micha is no exception even if the other girls decide to dye their hair a lighter color or cut it. Micha is known for not changing her hair color or cut it short, she mostly would use wigs, because she really believes that dark hair suits her the best and would get bored really quickly if she changed the color and she always liked her hair long. Also seeing the bald spot and fried hair of her friends from bleaching it too much made her promise herself to never commit those mistakes.

• everyone says that the eyes are the window of the soul, this saying goes with Micha too well, many said that she has such an expressive eyes that are so beautiful and charming you can't look away from, with deep dark eyes paired with long eyelashes. She has doe eyes but she can turn them into siren eyes really fast when it is needed especially in performances. Also many realized that Micha uses the triangle method when talking to people without her knowing and most of the time it made the other person really flustered and don't know how to look at her eyes properly. Also what adds to Micha's eyes charm is the mole under her right eye.

• Micha has a well defined lips with the bottom one is more plumper than the upper lip and slightly defined cupid bow. Even without anything on them they have a dark pink natural color on them. She usually uses lip products with the same color as her lips to enhance them or just clear gloss on top.

• Micha was always admired for her graceful 90 degree shoulders and her long delicate slim neck, especially when she wears off-shoulders, spaghetti straps or strapless tops and dresses, they sad it just add more sophistication to what she wears.

• when Micha was just a trainee, she struggled with her body after hearing hurtful comments of trainnees on other artists, so she thought she had to watch her weight to prevent this from happening to her. So she started to lessen the amount of food she ate till at one point she found herself only eating one light meal a day and some days she doesn't eat anything at all. Even when her members, some close stuff of the company and her family expressed concerns she didn't pay any attention towards them she thought she was fine. But when she debuted the struggles started especially with the full schedule, she found herself getting tired a lot by the smallest things, she passed out after concerts more times than she can count and fans expressed their concerns and she read them all yet she couldn't keep one comment out of her mind " she looked like a dying corpse ready to be buried" with laughing emoji. that night Micha for the first time took her clothes off and looked at herself closely on the mirror, she felt disgusted by what she saw and thought this isn't her. And knew that she needs help. And she did her mother took her to a doctor and with the right diet and exercise she got her health back. And now she is considered to have one of the most desired body in kpop and her true fans are really happy for her. Micha has a balanced hourglass figure with tiny flat waist and wider hips and chest. Some thinks that she has a large chest but she actually has medium sized chest that is on the larger size but her waist give them the illusion of looking bigger than they are. She has both long arms and legs Wich the later are thick on the thighs level. She also has round plump behind that she is proud to say that she worked hard to get those results. Everyone forgot how many times her body went trend.

• Micha has an attractive back that is slender and has a natural slight arch to it with back dimples at the end. People go wild when she wears backless top, they say she looks effortlessly gorgeous wearing them.

[themosleyreview]

The Mosley Review: The Super Mario Bros. Movie

There is a reason why video game developers don't license out their product or games to film studios. If the early 90's taught us anything, they haven't gotten it right at all. Back in 1993, the most guiltiest pleasure of a film was released and it caused Nintendo to never trust the film industry to adapt their legendary catalog to screen. Super Mario Bros. was absolutely an abomination of a film that didn't even try to get the world or design of the beloved game correct. What my generation got was a comedic and yet dark dystopian creature feature that even the cast hated making. I still enjoy the ridiculous and fun charm despite its massive sins committed against the property. It sparked my crush for Samantha Mathis so that was always a plus. Nintendo has taken the chance again and trusted another film studio to try and respect the source material, but did it work? Absolutely! From the opening credits to the final shot of the film, this was 100 percent a Super Mario Bros. game come to life in everyway possible. The choice to do it animated was the only way to get it right and the filmmakers nailed it. From the vast amount of classic references, Easter eggs, recreations of the original game levels of Donkey Kong and Mario Kart, I was in heaven. The universe of Mario Bros. was on complete display and handled with such respect. There are some updated story elements that alter the original stories of the games, but it didn't actually matter in this instance because the amount of fun I was having with the breakneck pace of the film. I had my reservation about certain casting choices and I was pleasantly surprised by how well the cast pulled it off.

Chris Pratt takes the lead as Mario and I had my thoughts on the choice of a big name actor to play him. I wanted the voice actor that has voiced the character for 100 games and I was afraid that all I was gonna hear was Pratt. Well Chris absolutely blew my expectations out of the water and nailed the characters heart and optimistic spirit. Charlie Day was fantastic as his skiddish, faithful and sometimes hilariously tortured brother Liuigi. He seriously gets put through the ringer in this film and I sometimes felt sorry for him as he is sidelined for the majority of the film. His chemistry with Mario was truly a highlight when they were together and they had an amazing action scene together toward last portion of the film. The bathroom sequence was awesome as well with the dog.  The original voice of Mario, Charles Martinet, is in the film and I loved that he played the father of both Mario and Luigi. It was a wonderful touch for him to be the one that propels their story to earn the respect of their father. Anya Taylor-Joy was excellent as Princess Peach and I liked that they updated her character. Historically, she was the damsel in distress that Mario would always have to save and now she is more of a stronger person. It wasn't a politically overbearing choice that somehow made her the hero of the film. She was a great ally to Mario and you grow to love her by the end. Keegan-Michael Key was outstanding as Toad and nearly stole the film with all of the cute and heroic moments. He wasn't a bumbling character that was just there to sell toys and I loved that he was very creative and brave. Seth Rogen blew me away with his performance as Donkey Kong. He was as funny, arrogant and tough as Kong should be. He was so much fun to watch and the rivalry between him and Mario was so reminiscent of their original arcade game debut. Jack Black is always a delight and as King Bowser, he was hilarious and unexpectedly menacing in so many great ways. He is a villain with a big heart, but he will burn all that cross him. I loved his many musical numbers and a particular scene with a piano where he plays a well placed theme we all know to add tension. Kevin Michael Richardson was awesome as the sorcerer and right hand of Bowser, Kamek. Kevin has always been one of my favorite voice actors and I always enjoy hearing his talented and distinct voice in anything. He was awesome and great in his scenes with Bowser. Khary Payton was great as the Penguin King and even though his major scene was in the trailer, he still had more fun moments in the film to witness. Juliet Jelenic was adorable and hilariously dark humored as Lumalee. Every line that kid spoke was comedy gold and I loved every second of it.

The score was brilliant and recreated all the iconic music of the franchise in epic and creative forms. Brian Tyler truly created a masterpiece of a score that had me smiling from the ear to ear as the themes that Koji Kondo created came back to life in the right moments at the right time. The underground tube theme from the first game was used perfectly to build tension in one specific moment. Even though the film has a attention span of 2 year old, the story still held even if it was a bit basic. I wasn't looking for something Oscar worthy, but what we got was serviceable and you've seen it done before. Other than that, there's really nothing bad I can say about this delightful and fun family film that will be enjoyed by adults as well. If you're a hardcore fan of the Mario universe, then you will have your mind blown. For the casuals like me that grew up with it but never continued with the franchise after Mario 64, I still found myself having so much fun and smiling at all the recreations of classic levels and references to other Nintendo classics. Do stick around to the end of the film for an end credit that'll make you smile even harder. Let me know what you thought of the film or my review in the comments below. Thanks for reading!    

[twittercomfrnklin2001-blog]

Airport '77

I first saw AIRPORT ’77 (1977, Netflix through month’s end) on network television (though not in the expanded version originally shown on NBC). That did the film a great injustice. Commercial breaks kill its rhythm, making it harder to appreciate the mounting silliness. Fortunately, it’s on Netflix through the end of the month, so I was able to chortle my way through it as famous and less famous actors and extras threw themselves around the cabin of a hijacked jet that crashes and sinks in the Bermuda Triangle. Who needs AIRPLANE! (1980); this film is already a satire of itself.

It’s hard to pick a favorite inane moment, though high on the list is hijacker Monte Markham’s disguising himself by slipping a wig over his hair — no wig cap, no pins, yet not one of his own hairs sticks out to kill the illusion. Then there’s the poor barman (Robert Hooks, and I hope the paycheck was ample compensation) whose leg is shattered in the crash. During the rescue it seems the entire surviving passenger list and crew have to crawl across that shattered limb on the road to safety. Or maybe it’s the pianist (played by singer-songwriter Tom Sullivan), who performs the eminently forgettable “Beauty Is in the Eye of the Beholder,” proof that not every disaster film yields an Oscar-winning ditty, before being crushed by his own piano as his lady love (poor Kathleen Quinlan) has to look on and pretend that what looks like severe constipation is actually his painful death.

You’ll note that I did not refer to this as “Jerry Jameson’s AIRPORT ’77.” It’s not merely that his direction lacks style or rhythm or competence (the rescue scenes are a particular snooze). It’s that the film is not so much directed as packaged. Jennings Lang, a top executive at Universal, got writers to combine the Airport franchise (complete with George Kennedy, who’s reduced to about 90 seconds on screen) with the then-famous legends about the Bermuda Triangle, and lured a cast including five Oscar winners to commit to the sorry mess. James Stewart, as an airline magnate who sets up the charter flight to his Palm Springs art museum, draws on his tried-and-true mannerisms, which are so appealing in good films and totally annoying here. You keep wanting to yell for him to just spit the damned lines out so we can get to the plane crash. Olivia de Havilland, whose character I envision using Jewel Mayhew’s money to set herself up as an art patron, acts as though delivering a testimonial at the Academy Awards. Her love interest is Joseph Cotton, who’s much more realistic, and one imagines them joyfully reminiscing about driving Bette Davis bonkers before she beaned them with that stone urn. Jack Lemmon fares somewhat better. His early love scenes with Brenda Vacarro, as an executive torn between marrying him and accepting a new job in Switzerland (and I almost fell asleep typing that), are almost charming. His comic rhythms give the lines an improvisatory feel that flies out the window when he has to descend to stock heroics, though at least he’s never as wooden as Charlton Heston. The real star of the film, however, is Lee Grant. She takes an abysmally written part as a needy, neglected wife burying her loneliness in booze and a tawdry affair with a man who doesn’t even like her and makes it sing. She looks great in her Burton Miller pantsuit and almost seems to be having fun, which puts her way ahead of her cast mates.

[plotbnuy]

KarpReviews - Neon Genesis Evangelion (1995) and End of Evangelion

It took me a good while to really get into anime. Well, maybe that’s technically not true, as I grew up with the Pokemon and Yu-gi-oh anime series. That’s really where my exposure to the medium stopped for a long time, though. There was scattered influence, such as an ephemeral viewing of Spirited Away on Cartoon Network, and access to one of the Naruto fighting games. Ultimately, though, I hardly knew what anime was until high school. It was around this time that I would occasionally stay up late to watch Toonami on Saturdays. Toonami provided me with several of my first and favorite anime series, including Cowboy Bebop, Deadman Wonderland, and Soul Eater. One night, however, I found myself treated to something completely bizarre. 

I can’t say for sure exactly what I had watched, though my current knowledge suggests it was one of the Evangelion recap movies. These are abridged versions of the series that tell the story in a more condensed format, though it’s possible I just caught a few episodes of the regular series. The show itself was overwhelmingly confusing and bizarre, with concepts my teenage mind struggled to grasp, and characters that seemed strange and depressing. It certainly didn’t help that I was watching this show in the dead of night while sleep repeatedly attempted to pull me down. I was mesmerized regardless, and the images I saw never left my mind. 

It wasn’t until now that I decided to finally watch the series in its entirety. I was excited to figure out exactly what I’d seen, why the robots in the show looked the way they did, why the “monsters” had such abstract and strange designs. Most importantly, I wanted to experience one of the major pieces of Japanese animation that had influenced so much of popular media. Thankfully, Neon Genesis Evangelion did not disappoint. 

To briefly summarize for those who still haven’t seen the show, the main premise is that, for one reason or another, Earth has become assaulted by powerful beings known as Angels - strange monsters that threaten humanity with their otherworldly power. An organization called NERV, led by Commander Gendo Ikari, plans to protect humanity and destroy the Angels with mysterious and strange humanoid mecha named “EVAs.” They can only be piloted by particular children, one of whom is the main character and Gendo’s son, Shinji. The Angels themselves, as well as their lore, hearken to Christianity, though in the same way that American media loosely uses Greek mythology. While the premise of the show seems to match that of other mecha, such as Gundam or Macross Saga, Evangelion is more about it’s heavy, layered theming as opposed to mecha and kaiju battles. Evangelion’s storytelling is rich and layered, yet I never found it to be overwhelming or poorly paced. Even though it’s dark tone is prevalent throughout, the battles between EVAs and Angels are still exciting and enjoyable on their own, each encounter building the stakes higher and higher, until it almost feels that everything will suddenly explode. Almost. 

Visually, I think Evangelion holds up phenomenally. The animation style is instantly recognizable while still carrying the same charm that many 90′s anime have. Characters are expressive and animated when they need to be, and backdrops are detailed and colorful. I was blown away especially during the show’s numerous fight scenes. Unlike the bulky mechs featured in most media at the time, the EVAs are nimble and powerful, often performing acrobatic feats or creating stunning displays of destruction. I was absolutely captivated by the designs of the EVA’s and Angels, just like I was in high school. The EVA’s are both incredible and sinister, immediately intriguing just from their design alone. Just looking at one makes you want to know more about them. The character designs are simple but still memorable, which matches their personalities well. What I love most about the visuals of this show, however, isn’t the fluid action or expressive characters, but the implementation of long shots and surreal visuals. Several times throughout the series, the show will linger on a single frame for an extended period of time. There’s no dialogue in these segments, just ambient noise or background music. These moments are some of the most engrossing, trapping the viewer in a single uncomfortable moment, such as the gruesome aftermath of an Angel attack, or a long elevator ride following an argument between Asuka and Rei.

Speaking of, the characters in this show are truly fascinating. Nearly every character is layered and interesting, and each one has their own ways in which they deal with the pressure and terrors of the world around them. I was surprised with how much I ended up liking Shinji (during the main series that is, but we’ll get to that) whose awkward and conflicted personality can be easily polarizing to viewers. I thought Asuka was a nice foil for Shinji, and an entertaining character on her own. She is a bit rough around the edges, and her loud and often self-centered personality can be grating at times, but ultimately her presence is a positive one, and I feel she inadvertently pulls other characters out of their shells. Rei, the third part of our pilot trio, is quiet and mysterious, and she adds to a lot of the show’s intrigue. My favorite character is easily Misato. On top of keeping the younger character’s intense personalities in check, her own story is one that the show graciously gives a lot of attention to. Watching her start to work through her demons was thoroughly compelling to me, and I felt that even through her faults she always tries to be mindful of the people around her. Ryoji was another character that I was a bit worried about after his introduction, but thankfully he had much more going for him than his flirty, aloof attitude. The one person that I never got totally sold on, though, is Gendo Ikari. While he’s certainly integral to the plot, his character was too nuanced for my liking, and it dampened his impact on the story. He’s also one of the characters who I can confidently say isn’t a good person, making his presence even more distasteful. Important for sure, but generally unpleasant. 

Perhaps the most memorable piece of this show is it’s music. Truly, every single track within this anime screams “iconic.” The catchy drumming of “Decisive Battle” constantly plays within my head, a track that helped every Angel encounter feel like an elaborate chess game. “Angel Attack” has a memorable, intense melody that felt appropriate for the show’s surreal and powerful monsters. Of course, nothing needs to be said about one of the most iconic anime openings ever, “Cruel Angel’s Thesis.” By far my favorite, though, has to go to “Komm, süsser Tod.” Playing during the finale of End of Evangelion, this hauntingly beautiful song fits the show perfectly, from it’s use of choir-like vocals to the chaotic mess of strings towards the end. Every song in the show’s OST is wonderful, and I often listen to various tracks while I’m working. Even if you don’t want to watch the show, I strongly urge you to check out the soundtrack anyway. 

Deep within these varied, elaborate pieces, behind the catchy music and incredible action set pieces, Neon Genesis Evangelion is a show about depression. Each character struggles with this in a different way: Shinji keeps his distance from those around him, despite needing more than anything to connect to another human being. Asuka searches for validation from the people around her, becoming angry when anyone takes attention away from her, afraid that she’ll be ignored or forgotten. Rei struggles in general to feel like a real person, to become more than her birthright and her purpose. Misato tries to drown herself in her work and in alcohol, keeping herself in denial while she tries to distance herself from her past. In some ways, the EVAs represent the responsibilities of everyday life, highlighted by Shinji’s struggle to fully commit to his obligation of protecting mankind. The characters in this show are broken, messy husks, and for almost the entire show these struggles seem impossible to overcome. These themes and motifs become especially true starting with episode 16, where the show begins to slow down and focus on its characters as the final Angel threat is thwarted. Ultimately, however, the message of the original series is a hopeful one, sending the viewer off with the message that only when you’re able to help yourself can you finally start to truly connect with and help others. It’s a poignant message and one that I think the show earns by weaving it’s theme of depression throughout the entire show, not just focusing on it near the end. 

The end, however, is where Evangelion becomes a truly fascinating piece of media. Part of what makes this true is that, actually, Neon Genesis Evangelion has two endings: the final two episodes of the show, and the movie appropriately titled End of Evangelion. The series has separate endings for a couple of reasons, actually. While I won’t explain it in depth here, the summarized version is that the latter episodes of Evangelion, starting with episode 16, are subjected to a bit of a paradigm shift following production issues and budget cuts. These later episodes are where the various characters’ faults take the forefront of the narrative, and the action scenes become scarce. The final two episodes take on an especially bizarre nature, analyzing the characters within the context of the show, using abstract visualization and disjointed dialogue to do so. Personally, I’ve grown to appreciate this ending. As I mentioned before, while the focus does change towards the end, I still believe the show was always more about the heavy themes than it was about the robot fights. Many, however, do not share my opinion. When the finale originally aired, many viewers were incredibly unhappy. Unreasonably so, as thousands sent angry letters and death threats to the studio, griefing the creator for his vision. They called for a different ending, one with a more satisfying conclusion, with more action and a clearer sendoff for Shinji and the other characters. 

Needless to say, creator Hideaki Anno obliged them. 

Releasing in 1997, End of Evangelion is perhaps the most spiteful piece of artistry ever conceived. While the original series ended with a message of hope, this film turns the series on its head and creates a narrative that simply reeks of despair. Junko Enoshima  could only dream of creating something so explicitly hopeless. While Shinji takes his first steps towards healing in the original ending, this film features a Shinji who has completely and utterly given up. He’s succumbed to his base desires, numb to the world around him in a way that’s turned him into a monster. His thoughts and actions are violent and abusive, he becomes completely deaf to the needs of those around him, and in a few short minutes of this film, he becomes almost completely irredeemable. He knows he’s become a despicable shell of a human being, but he almost seems to revel in that fact. This version of Shinji is utterly useless, and his actions - or rather inaction - causes the complete destruction of everyone he loves. This film is depressing, it’s uncomfortable, and it’s absolutely unconscionable...

And I loved it. 

In context, it’s hard not to imagine that End of Evangelion is a deliberate slap in the face to the fans who so ruthlessly tore apart the original ending of the show. It completely reverses the progress that was made in the original series, opting to create an ending that is more intense and action-packed, but at the price of turning Shinji, the audience surrogate, into a complete bastard. Watching the film for the first time is almost infuriating, especially as Shinji repeatedly destroys everything in his wake through his own self-loathing. Yet, after letting the film sit in my mind for a while, I found it to be a truly unique piece of art. It’s hard to stomach, and I don’t think I can recommend it, especially on its own, but End of Evangelion is a truly fascinating film. 

As a whole, I’m extremely happy I decided to go back in time to watch this old classic. I believe it holds up incredibly well overall, and it has so much to say in just 26 episodes. Watching it reminded me a lot of Samurai Jack and Cowboy Bebop, especially with its use of masterful long takes and thick atmosphere. If you haven’t given this anime a shot, I strongly recommend checking it out on Netflix or wherever you can get your hands on it. It may not be for everyone, but for this kaiju-loving gal, it exceeded every expectation. 

[recentanimenews]

FEATURE: 21 Great Anime You Should Absolutely Watch In 2021

    Happy Anime Day! With every season bringing a plethora of new series, there are now countless shows and movies, both new and old, to watch. Whether it's adventure, comedy, romance, or drama you're looking for, here are 21 anime series you should add to your watchlist in 2021.

      1. My Hero Academia Season 5

When it comes to the next chapter of My Hero Academia, 2021 couldn't come fast enough. Season 4 showed audiences just how high the stakes really are and how dangerous the enemies can be. Season 5, which recently premiered in March, will not only deliver high-level action, but we'll also get more time with the great slate of heroes and villains showcased last season.

      2. Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train

After hearing the news of Mugen Train dominating the box office, the time has come for North American audiences to experience this highly anticipated film. Mugen Train will be available for digital release this summer and will help fill the void fans of the series have been feeling since the season ended. And we can always revisit Demon Slayer: Kimetsu no Yaiba in the meantime.  

      3. The Devil Is A Part-Timer

The Devil Is A Part-Timer! offers lots of comedy with all the appeal of your traditional fantasy series, but it takes place in the modern world. Demon Lord Satan gets transported to Tokyo, and while his original goal was to take over his homeland of Ente Isla, Satan finds a better path to world domination ... climbing the ranks at the local MgRonalds! It's fun, it's wacky, and it's one of those series we never thought would get a second season, until now.

      4. Given The Movie

Talk about a bag of mixed emotions. Like the series, you'll feel proud and happy one minute, and then a pile of mush the next. Given The Movie provides a touching viewing experience following these fractured characters as they navigate their personal feelings, as well as expressing their innermost emotions through music.

        5. Hunter X Hunter

2021 marks the 10-year anniversary of Hunter X Hunter. Whether you've never seen this series or you've re-watched it hundreds of times, come celebrate this epic title's milestone!

      6. MEGALOBOX 2: NOMAD

MEGALOBOX brought all the charm of a '90s anime, but with the story of a futuristic society that takes boxing to a whole other level. Gearless Joe made a name for himself in Season 1, and although things have changed and gotten complicated, he's "not dead yet." For Joe, the fire still burns within him, and he seeks to fight once more. 

      7. Osamake: The Romcom Where The Childhood Friend Won't Lose!

Finally, a series where the childhood friend captures the heart of the MC ... I hope? It is a harem after all! Osamake: The Romcom Where The Childhood Friend Won't Lose! has a whole lot of comedy, a whole lot of shenanigans, and a noticeable amount of ... revenge. It looks like an epic competition is about to get underway!

        8. Chihayafuru

If you're experiencing Haikyu!! withdrawals, then Chihayafuru may be the next best sports anime for you! Now don't be fooled. Although Chihayafuru is all about Karuta, a Japanese card game, it still delivers the same level of development and high-stakes settings as other sports anime. This may be one of those series you always saw around but never watched but if there was ever a time to binge, it's now!

      9. Tokyo Revengers

With the manga receiving much praise, probably one of the most anticipated anime adaptations for 2021 is Tokyo Revengers. Motivated by tragedy, Takemichi Hanagaki finds himself in the past, climbing the ranks of the Tokyo Manji Gang in order to change destiny. He may not appear the toughest, but he's determined to get through the intense situations he finds himself in.

      10. To Your Eternity

Knowing this is a story from Yoshitoki Oima, creator of A Silent Voice, To Your Eternity, will surely be an adventure that tugs on your heartstrings. Audiences will witness an intimate journey of life and death revolving around an emotionless orb with no identity but can take the shape of those around it. There will be elements of time, drama, emotion, plus Hikaru Utada performs the theme? ... Sold! Want to know more? Check out the full manga catalog here.

      11. Shaman King

A Shaman King reboot was the best present fans of the original series could've gotten as the title just marked its 20th year since the show premiered back in 2001. Fans will be transported back to their childhood, all the while looking forward to a new story that reflects the manga. The series recently aired in April in Japan, and fans in North America can expect to watch the series sometime later this year. 

        12. Horimiya

  If you've been searching for a romance anime unlike any other, then you should watch Horimiya if you haven't already. This series takes everything you know about anime romance tropes, and delivers a series of fresh new twists, making for a warm and cozy viewing experience.

    13. Anohana: The Flower We Saw That Day

If in between all the action and comedy you need a good slice of life series about friendship, Anohana is the series for you! The original series aired 10 years ago, but sometimes a trip down memory lane is exactly what you need. Plus a new visual and news of an upcoming project will surely get you pumped to hit play.

      14. The Rising of the Shield Hero Season 2

Thinking he'd be the hero in this new fantasy world, Naofumi Iwatani ended up being hated, shunned, and stigmatized at the beginning of The Rising of the Shield Hero Season 1. But as he journeyed on, he developed genuine relationships, gained valuable trust, credibility, and gratitude from others. Season 2, airing in October, is ready to continue with Naofumi's journey and progression.

        15. Miss Kobayashi's Dragon Maid S

Miss Kobayashi Dragon Maid has it all! This series draws you in with its cute appearance, but it surprises you with its mature moments and shocks you with some unexpected sizzle. Plus it has dragons, maids, and sweet raps! Be sure to check out the second season's adventures this July. 

    16. One Piece

  If you haven't already committed to the legendary behemoth One Piece, now may be a good time to start. The anime is set to hit its 1,000th episode this year, and while diving into a series that's so far along can seem intimidating, if you've been spending a lot of time binging TV lately, this series could be your next big marathon.

      17. S8 the Infinity

Take the Tony Hawk Pro Skater video games, and mix them together with vibrant, aesthetically pleasing animation and cool action scenes and you have S8 the Infinity. Sports anime has been really expanding its catalog lately, and this series is an entertaining addition to the genre.

  Image via Hulu

  18. The Wallflower

A little bit of nostalgia is nice to mix into your anime watchlist. If you're a fan of Ouran High School Host Club, then you'll love The Wallflower! It's got some handsome boys, a cute and quirky girl with a fascination for all things dark and scary, and all the ridiculous antics of a harem!

      19. Death Parade

Death Parade has stayed under the radar, but it at least deserves to be on YOUR radar. A story about the afterlife where a bar represents limbo and its bartender decides the fate of the souls in front of him whether they experience reincarnation, or disappear into the void by playing a game. This is a psychological, thought-provoking drama with some mystery, as we don't know the true nature of the people in the bar, or what led them to where they are. Those secrets will eventually be revealed as the game plays on.

    20. Puella Magi Madoka Magica

Like Hunter X Hunter, this year also marks the 10-year anniversary of Puella Magi Madoka Magica. Madoka was and to this day still is a defining series that was a real game-changer for the magical girl genre, showing just how much danger magical girls face. It's a must-watch if you haven't already, so make a contract with yourself to watch or re-watch this series sometime in 2021.  

    21. How To Keep A Mummy

  How To Keep A Mummy is a heartwarming episodic series to watch when you want to have a feel-good time! Friends and classmates spend time together with their mythical creature companions: A precious, tiny mummy who anytime he holds anything will make your heart melt, a somewhat hot-headed but caring oni, a clever dragon, and a fluffy baku. After catching up on everything on your watch list, have fun with this series to round out 2021.  

What anime will you be watching in 2021? Let us know in the comments!

        Veronica Valencia is an anime-loving hot sauce enthusiast! You can follow more of her work as a content creator on Twitter and Instagram.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Veronica Valencia

[sugar-petals]

Can u introduce yuzuru to us the caro way?👀

so you want to know about the one and only. ♡😌

yuzuru hanyū (25) of sendai, japan: the most beautiful ice prince with a heart of gold.

….an artist clearly not of this world, he’s been sent to us from another realm. 19 world records, two olympics won, dubbed the greatest figure skater of all time. and the most precious bean on top of that.

but let’s start from the beginning, shall we ♥︎

so, want to spot yuzu on the ice? use this checklist. slender silhouette, an even slimmer waist, feather-like outfits (he sketches those himself; the fandom lovingly calls him swanyu), soft blushy face. he has great androgyny.

outside of performances, you see him either with a deer’s gaze or the brightest, biggest eye smile. also, he’s usually found sitting with his wife: 

which is the ice 😄 these two are together forever. you can discern yuzu from a mile away by how he treats his working ground. 

there is a purity to him. you’d not guess that this is one of the most ardent athletes if you didn’t see what’s around his neck after competitions. the guy’s cuteness is as compelling as his skating technique.

look for it: yuzu’s face is super suave and rosy up close, even after his most energetic performances. some men are handsome, others pretty, he is both. 

even acoustically, he’s hard to miss. applause is all around, and he’s highly expressive. if you see a crying young man getting the high score, that’s yuzuru hanyu. you’ve not seen more beautiful happy tears.

and score reactions, anyway:

so, aye loves, the rumors are true. a cutie-pie off the ice, animated, a real unabashed meme — yuzu is easy-going, talkative. cheery, cheeky, one of a kind. his facial expressions are a league of their own.

if you thought this is the sort of guy who watches cat videos, you are correct 😄

yuz-uwu hanyu, everybody:

his undoubtedly feline behaviour is often unexpected, it stands out with its adorableness, too. a sweetheart par excellence. 

and, how else could it be: vice versa, the big beast on the rink. he’s cutesy, dorky, very well-spoken in daily life, but when it comes to skating, his seriousness escalates. you blink once and suddenly hanyu is a bedazzling, strutting lion :’D his performances stun with confident elegance.

he becomes full of ardor, drama, and focus. you’d never suspect so much fire burns in him. a showman and ambition icon, hands down. 

his skating is dynamic, perfected, and emotional. if you want to see art and the extra mile, tune in when hanyu competes.

the downside is; more light, more shadow. it leaves him crawling on the ice afterwards. yuzu performs so hard, it’s worrying.

he delivers it all. you won’t believe it:

this guy is an asthmatic.

the symptoms aren’t as bad as they used to be, but there are still regular attacks. he said that he’ll never take it as an excuse and often recalls how he started skating because of it. he’s a badass, extremely inspiring. yuzuru defies all limits, including gravity. his jumps have legendary status. 

off the rink, you guessed it: he turns into a wholly different person. 

it all dissolves completely when he’s dorking around again. 

don’t let it deceive you, he’s the no other option than first place type. he could not be any more decorated with titles, he achieved the grand slam in all competitions as of 2020. and still, king of sportsmanship hanyu is respectful and smiley towards all colleagues and never lets anyone feel left out. especially when it comes to his juniors (e.g. yuma kagiyama, 16, below) which says a lot about him.

he bows in every direction before an audience, too. lower than a 90° angle, even. this is more polite than any existing formality in japan.

talk about audience: i introduced fellow japanese skater shoma uno last week, who’s more uncomfortable with social contact and aggression. yuzu, extrovert he is: the exact opposite. he withers away with no people and competition. he’s befriended rivals, had crises over not having someone who could challenge him. when a competitor retires, he’s the one crying in their arms (e.g. with team mate and bff javier fernandez from spain below).

beside his competitive spirit and princely wow factor, hanyu is popular for his winnie pooh tissue box that he caresses, squeezes, and carries everywhere. he loves good luck charms & rituals, pooh is the most important one.

fans throw pooh plushies on the ice after his performances because of it. since it’s gotten so intense, yuzu recently started cleaning them up himself on top of the flower girls for the upcoming skater who could get delayed otherwise. (more about what happens with the piles of plushies later.)

so, the burning question is. 

what made yuzuru hanyu emerge so outstanding an entertainer? how does someone causing so much uproar become like that? it’s not just what kind of appearance he was given, although he really looks his part to a T. you don’t have to be an insider to see it right away.

like literally to a fault. and you can tell the way his blades sound on the ice is different. it’s soft even if he does the most hardcore quadruple jumps. i think it’s because his drive to do this is a higher one, hanyu has an altered relationship with the ice. where his devotion comes from has a more severe reason so, massive trigger warning. 

this is no exaggeration: yuzuru is considered a hero to the japanese. a survivor of the earthquake 2011, he narrowly escaped the collapsing rink in his hometown on that very day. he’s often talked about how the ice shattered underneath his feet and it was the moment that defined his life forever. he could have been dead by the age of 16. his motivation has been set ever since. this man is compelled by something bigger, that’s why you hear it and you feel it. he wants to skate not just for himself but others and seize every day. 

much of his copious charity work — that’s where all the pooh plushies go — went to mend the consequences of the tsunami ever since, he’s looked upon as a great hope in japan. the minister gave him the people’s honor award in 2018. 

now you know why yuzuru has such a fanbase and treats the ice as sacred, you see it in every gesture. his manners are without a single flaw, he helps staff repair the ice after performances. 

you might think it’s odd, but he honors the ground. he’s invested in the integrity of it. that’s why he’s the best skater. it’s gratitude and the will to live fully.

he hates to fall on the ice, he hates to damage it. alongside his feathery weight, that’s why the sound he makes while gliding along is so tender. 

i think that’s also why hanyu’s signature element is the ina bauer. it doesn’t rely on brutal force, instead this element slides across the rink like a swan. yeah, oh my god.

it’s his most well-known dramatic move. the way he surrenders into it. 

hanyu’s back arch and perfect split allow him to do elements no other male skaters can. his biellmann spin, for instance. i know, it’s ridiculous.

and those are just two elements of dozens and dozens. hanyu is a kinetic wizard. i highly rec this record-breaking delivery of his olympic program. in front of his home crowd! he’s just… mind-boggling. i live for his smiles here.

exceptional skater, exceptional mentor: it’s time we look at another puzzle piece that made yuzu the way he is. the masterful brian orser is hanyu’s beloved coach. missing gold by just one mistake at the olympics 1988, brian is now committed to give others what he couldn’t have— successfully so.

orser took the ice prince to gold twice, this hasn’t happened in 66 years. brian is the nicest and most supportive pooh carrier and yuzu’s utmost rock. hanyu’s talent rests safely in these hands.

he gets strict about punctuality lmao! but other than that, his guidance is gentle. canadian he is, brian’s courteousness mixes well with yuzu’s politeness. their bond is strong. as. hell. 

brian picked up yuzu from rock bottom several times. most fateful being hanyu’s accident with a fellow skater during competition warm-ups nov 2014. they collided at a high speed, it was unspeakably nasty. yuzu got knocked out for half a minute and had grave breathing problems but still decided to skate on with what later turned out as an almost-concussion. brian was the most worried ice dad in the world that day.

yuzu cried and crouched and bled like mad and my heart has been broken ever since. i hope he never suffers like that again. promise me you don’t search up the video, it’s a harrowing watch like a stab to the chest. sadly enough, hanyu’s body has still been a notorious wreck, esp. ankle issues regularly give him a hard time 😔

it hurts like a bitch with every jump landing but he takes meds and still manages to win, god knows how. sometimes even with crutches on the podium. at his worst, he’s still the best, it’s a tragedy.

he’s been recovering, or always is, but he pushes himself through injuries. his ambition and perfectionism are boundless. the cause is more important to him than his well-being. this is not an easy guy to stan once you see how he sacrifices and self-destructs. so, it’s good someone protects him. 

mostly from himself because nobody has profoundly surpassed hanyu. he has let himself no choice than to contest himself. not even health, only age can stop yuzu. i think that brian understands this ‘curse of a genius’ effect. his mere presence can make hanyu say these rare words:

his two other coaches contribute to that. tracy wilson (left) has proven to understand his playful side the best while ghislain briand (right) helps yuzuru deal with his fears. so you got 3 people taking care of the golden boy. brian once said: “he is very sheltered” and you can see it’s true.

yuzu eased into learning english and communicates well with his coaches. like with everything, he studies hard and often forces himself to speak during interviews to practice. his skills are astounding. his speaking voice is also very soothing, very amicably low and high alike. yuzu is highly intelligent. he always says something eloquent and interesting.

now, privately, hanyu is very much like you’d expect someone so devoted to skating would be like. he doesn’t go out, has no social media, can’t eat nor sleep very well. no cameras allowed during practice. it figures he is attached to winnie pooh, think about it. in the cartoon, pooh is someone who sleeps, eats, and engages with friends plenty. 

these are the things hanyu can’t do, doesn’t have time/energy/incentive for. he is barred from balance in life but can at least admire this little carefree plushie for it. especially because pooh represents eating lots while yuzuru doesn’t have a good relationship with food (he says it doesn’t go well with jumps etc.), hanyu lives vicariously through him. 

what’s more, you have to see how he throws himself onto others and never wants to let go, yuzuru is extremely cuddly. 

to the degree that mere social customs can’t meet how much he really needs. so, what else can he resort to, he loves mascots and plushies. it’s how the tale goes in japan generally, tough work ethic, high responsibility, high pressure, so people turn to cute fluffy things.

he always fondles pooh’s head, even pretends he’s come to life so he has someone to snuggle with. i think that his isolated lifestyle doesn’t help. so, he gets his affection at least there, you can see how happy it makes him. and again: he does this all for charity.

that’s why fellow skaters are so important to hanyu. it really brings out his social spirit and comforts him best, it’s so wholesome. i’ve not seen someone react so relieved to being embraced, like he’s not been touched for months. skating this, skating that. at the end of the day, hanyu wants love.

as he once said, what motivates him is to express himself in the first place. hanyu is a romantic. it’s written all over him. it reflects in his music choices, his elegant motion, how he designs his outfits:

… and how thoughtfully he talks about marriage. he has big plans for starting a family and coaching after he retires. i won’t be the only one squeezing lucky charm pooh in my imagination so it turns out well for him. please make this heart of gold heal and see all his wishes come true ♡🐻

[thealmightyemprex]

1960′s Bond films ranked

,1960′s was the era of Bond mania ,and it was the decade with the most movies ,with 7 movies(Second to it is the 80′s with 6 movies ,then the 70′s with 5 ,90′s and 2000′s both only had 3 each ,and 2010′s only had 2 ) ,and since the 60′s is the most classic era of Bond ,I decided  to rank the 60′s Bond films 

7.Casino Royale(1967)

Yup I am counting the unofficial movies too  and this is the only film on the list I would say is baaaaaaaaaaaaaaad.This is  a crappy movie,pure insanity  with no clear vision and it commits the biggest sin of a comedy :ITS NOT FUNNY .....Woody Allan as a Bond Villain is a funny joke though 

6.Thunderball(1965)

Only Bond film in which I have read the book.It’s an OK book ,love some of the characters  but it was just fine  .....But I like it better then the movie  .This is a boring movie  to me ,Largo is only remembered fondly cause he has an eyepatch as he is a lame villain  ,Domino is a lot less interesting then her book counterpart ,there is a cringeworthy scene with Bond blackmailing a physiotherapist into sleeping with him ,there is a random character who is important to the plot but the film doesnt treat him this way ,the Q scene feels less playful and more meanspirited  and underwater battles sound cool in theory ,but are dull in practice .That said I do like aspects ,Connery  is good ,I like the SPECTRE scene (Love Shadowy Blofeld ) ,the pre title action scene is great (Complete with ACTUAL WORKING REAL JETPACK ),The theme song performed by Tom Jones is AMAZING ,and  I do love the films main henchwoman Fiona Volpe ,she is such an awesome baddie I wish she was the MAIN villain  .I know it’s considered a classic but I just cant get into it 

5.You Only Live Twice (1967)

THis one I am .....Mixed about . I think it’s directed well ,there are some cool camera movements,the Little Nellie gyrocoptor is awesome  ,the fight scene against the driver (Played by Peter Maiva ,the grandfather of Dwayne “The Rock “ Johnson ,which is awesome )  is pretty badass , The Volcano Lair is SPECTACULAR (PRobabbly the best villain lair in the series ) ,Tiger Tanaka is a likable ally ,Aki is a great Bond Girl,Nancy Sinatras theme song is good ,it’s cool seeing a snapshot of 1960′s Japan ,the final battle is epic ,and Donald Pleasence is FANTASTIC as Blofeld ,bringing such a creepiness to a character who has been built up for 5 movies .....But  what holds it back for me is Connery looks so damn bored throughout the entire movie ,the plot I dont really care about ,Helga is just a rehash of Fiona and not even in a interesting  way ,KArl is such a boring henchman ,Aki is killed off just to be replaced by Kissy who is less interesting and I dont know why they didnt just have one Bond girl ,DOnald Pleasence is barely  in the movie ,and then you have Bond going undercover as a Japanese man......Yeeeeeeeeeeeeeeeeeaaaaaaaaaah.This is just such a mixed bag of a movie for me 

4.Dr No (1962)

Now lets get to the good ones.This is a lowkey Bond adventure(As they couldnt afford to do one of the bigger stories ) ,and I imagine that can be jarring for someused to the high octane globe trotting adventures of the other films,and I have seen some calll it Vanilla  .....And I kind of like the simpler vibe of this film .Connery comes out the gate swinging ,he is suave and with moments of  brutality.Both the Bond girl and villain arent in the film long but Ursula Andress is memorable as Honey Ryder  and Joseph Wiseman as Dr No while only getting really one scene to show off has a cold  detached delivery to his lines that makes him extremely eerie (Would’ve preferred a Chinese actor  and am distressed none were even considered but thats the 60′s for you ) .Anthony Dawson  makes for a good secondary villain as Professor Dent  ,Jack Lord is a cool Felix Leiter ,John Kitzmiller is great as Bonds ally Quarrel ,the film sets up Bonds dynamics with both Bernard Lee’s M and Lois Maxwell’s Miss Moneypenny ,both making strong first impressions ,the film is brutal with it’s action ,and overalll it’s a good introduction to the world of Bond  

3.Goldfinger(1964)

The iconic Bond film .This film is fun ,plain and simple. It has flaws (Mainly there being a whole section of the plot involving gangsters that makes absolutely no sense and how Pussy Galore turns good is REALLLY cringeworthy) but I feel like the rest of the film is awesome  .The villain Auric Goldfinger is one of the best  (Easilly my second favorite in the series )ruthless and greedy but with an odd sense of charm ,I just love watching him .The films main henchman Oddjob   is also awesome  ,a super strong  silent loyal thug  who kills people with a toss of his killer bowler hat .Honor Blackman as Pussy Galore  is fantastic ,easily one of the best Bond girls,and while I dont like how her arc is handled,I do like that she starts off as a baddie .The film is full of classic moments from Goldfinger and Bonds golf game ,the laser scene (And the classic exchange “You expect me to talk”*Chuckles*”No mr Bond ,I expect you to DIE!!”),the fight between Bond and Oddjob in Fort Knox (Which is a gorgeous set by Ken Adam ) and of course the iconic image of the dead woman painted gold .I also have just a personal fondness for this film as when I was a kid we had a whole bunch of Bond films on VHS (From Dr No to Live and Let Die ) and this was the one I watched the most 

2.From Russia With Love (1963)

I flip flop on whether I like Goldfinger or From Russia With Love more ,and I think I prefer From Russia With Love ,for one simple reason :Goldfinger is a fun action romp .....From Russia With Love is a genuinely intriguing spy movie .It’s also cool cause it is a direct sequel to Dr No which is an anomaly in the classic Bond films. There isnt one villain in this film ,it’s an organization ,SPECTRE ,meaning we get a whole ensamble of villains (Including creepy evil genius Kronsteen and SPECTRES head thug Morzeny),but the stand outs are Red Grant  played by Robert Shaw of Jaws fame, a sadistic assassin who is sort of Bonds dark mirror  and Lotte Lenya as Rosa Klebb ,a former SMERSH agent now working for SPECTRE ,who is commanding in every scene .....EXCEPT fore when she is around the films true villain Blofeld,in those scenes  she is TERRIFIED ,and thats a detail I love cause it adds to Blofeld mystique,that if he can scare KLEBB he is a force to be reckoned with  .I also love that we dont actuallly SEE Blofeld beyond his hands stroking his cat  ,and yet personality wise we get everything we need to know (That and his deep commanding voice which I LOVE ) .We also get Kerim Bey who is hands down the BEST Bond sidekick ,he is so lovable and charming,it’s hard not to like him.Connery is excellent  as usual ,all the action is awesome including Bond evading a helicopter ,a climatic boat chase,an encounter with a deadly piece of footwear,and a absolutely brutal fight between Grant and Bond on the Orient Express .If I have one  complaint I am not that fond of how the Bond Girl Tatiana  is written but  Daniela Bianchi does a good job .Overall this is a great movie  

1.On Her Majesty’s Secret Service (1969)

This is my favorite Bond movie .It is at it’s core a love story and a damn good one .Diana Rigg steals this entire movie as Tracy  ,she is the best Bond girl .Telly Savals is charming ,intelligent ,but also tough as hell as Blofeld ,he is my third favorite Bond villain  and hands down my favorite Blofeld .I think the film contains one of the best evil plans (And surprisingly relevent over 50 years later ),Irma Bunt is a terrific henchwoman ,Gabriele Ferzetti is  entertaining as Tracy’s criminal father Draco ,Louis Armstrongs We Have All The Time In The World is a terrific love song  ,I love the setting of the Swiss Alps ,the film somehow makes a BOBSLED chase badass ,and the ending  is unforgettable .Now the one common complaint people have is George Lazenby ,and while I agree he isnt great ......He is a good Bond ,and he hits the dramtic  notes when he needs to .I adore this movie and reccomend it to non Bond fans  even

[insanityclause]

Coriolanus is a play that’s more respected than revered. Why does it have a rather difficult reputation? Coriolanus is relentless, brutal, savage and serious, but that’s why I find it interesting. Shakespeare sets the play in ancient Rome: a far older place than the Rome more familiar to us – of Julius Caesar or Antony and Cleopatra or the later Empire. This Rome is wild. A city-state wrestling with its identity. An early Rome of famine, war and tyranny.

In the central character, Caius Martius Coriolanus, Shakespeare shows how the power of unchecked rage corrodes, dehumanises and ultimately destroys its subject. I’ve read that some find Martius a hard character to like, or to relate to – less effective at evoking an audience’s sympathy than Hamlet, Romeo, Juliet, Rosalind, Othello or Lear. Yet there is a perverse integrity and purity to be found in his obstinacy and honour, which sits alongside his arrogance and contempt.

The play’s poetry is raw and visceral, quite different from the elegance, beauty, clarity and charm found elsewhere in Shakespeare’s work. The warmth and delight to be found in his comedies are absent here. But the unstinting seriousness and intensity of the play is what makes it fascinating.

How well did you know the play? I didn’t know it well. I had seen an early screening of Ralph Fiennes’s terrific film adaptation at the Toronto film festival in September of 2011. I was fascinated by the visceral intensity of the play: the power, hubris, and force of the title character; its lasting political resonance; and the immediacy and profundity of the familial relationships, particularly between mother and son – Volumnia and Martius – which struck me as perhaps the most intense and psychologically complex presentation of that bond I had come across in Shakespeare.

What drew you to Coriolanus as a character? I was fascinated by the evolution of Martius/Coriolanus as a character through the play. His arc is purely tragic. He begins the play as Rome’s most courageous warrior, is quickly celebrated as its most fearsome defender, then garlanded by the Senate and selected for the highest political office.

His clarity of focus, fearlessness and ferocity of spirit, all qualities that make him a great soldier, undo him as a politician. His honesty and pride forbid him from disguising his contempt for the people of Rome, whom he deems weak, cowardly and fickle in their loyalties and affections. He cannot lie. “His heart’s his mouth / What his breast forges that his tongue must vent.” He becomes a tyrant, branded a traitor, an enemy of the people: an uncontained vessel of blistering rage. He is banished, changed “from man to dragon”. Joining forces with his sworn enemy, Aufidius, he plots revenge against Rome: “There is no more mercy in him than there is milk in a male tiger.” And then finally, at the very end, as he watches his own mother, wife and son kneel at his feet and beg for his mercy, he reveals – beneath the hardened exterior of contempt – a tenderness and vulnerability not seen before.

That shift, from splenetic warrior to merciless “dragon” to “boy of tears”, fascinated me – and the fact that his intransigence, valour and vulnerability all seem to be located in, and released by, his complex attachment to his mother.

How does this play about politics and people resonate in today’s society? The play raises the question as to how much power should reside in the hands of any individual: a question that will never go out of date. “What is the city but the people?” cries the people’s tribune, Sicinius (in our production, brilliantly played by Helen Schlesinger). The people must have their voices. And, beneath that, I think the play also raises another complex question as to what degree any individual can withstand the intensity of idealisation and demonisation that comes with the mantle of unmoderated leadership or extraordinary responsibility.

It’s a physical role – how did you prepare for it with fight director Richard Ryan? Josie Rourke and I knew it was important to the clarity of the play that Martius be credibly presented as a physical presence. As a warrior, we are told, he “struck Corioles like a planet”. Big boots to fill. Hadley Fraser, who plays Aufidius, and I began working with Richard Ryan three months before we started full rehearsals on the text of the play. The fight between Martius and Aufidius is a huge opportunity to explore their mutual obsession (“He is a lion that I am proud to hunt”).

We also hoped there would be something thrilling about presenting it at such close quarters in the confined space of the Donmar. We wanted to create a moment of combat that was visceral, brutal and relentless. We knew it would require skill, safety and endless practice. The fight choreography became something we drilled, every day. Hadley was amazing. So committed, so disciplined. It created a real bond of trust between us.

You previously starred in Othello at the Donmar. What’s special about that space? The Donmar is one of the most intimate spaces in London. I must have seen at least a hundred productions there over the last 20 years, and as an audience member it always feels like a thrill and a privilege to feel so close to the action. There’s a forensic clarity to the space: the audience are so close that they see every movement, every look. For actors, there’s nowhere to hide. That’s exciting.

It’s what makes the Donmar special: the closeness, the proximity. Hard to imagine in the wake of Covid-19. Theatres everywhere need all the support they can get. But that’s what’s encouraging about National Theatre at Home. It’s keeping theatre going, but it’s also a reminder that the sector will need real support to stay alive: from the government and from us, the people who love and cherish it.

There is a rather bloody shower scene – what are your memories of that moment? I remember that the water was extremely cold. But I was always grateful, because the preceding 20 minutes – scurrying up ladders, down fire escapes, into quick changes and sword fights – had been so physically intense that the cold water felt like a great relief. Martius says to Cominius just moments beforehand: “I will go wash / And when my face is fair you shall perceive / Whether I blush or no.” So I washed.

The scene did have a thematic significance. So much of the play, and the poetry of the play, is loaded with references and characters who are obsessed by the body of Martius as an object: how much blood he has shed for his city; how many scars he bears as emblems of his service. His mother, Volumnia (​in our production played with such power and clarity by Deborah Findlay), says in a preceding scene that blood “more becomes a man than gilt his trophy”. Later, during the process of his election to the consulship, to the highest office, Martius is obliged by tradition to go out into the marketplace and display his wounds, in a bid to court public approval; to win the people’s voices. Martius refuses, in contempt for both practice and people.

In the shower scene, Josie wanted the audience to be able to see the wounds that he refuses to show the people later on, but we also wanted to suggest the reality of what those scars have cost him privately. We wanted to show him wincing, in deep pain: that these wounds and scars are not some highly prized commodity, but that beneath the exterior of the warrior-machine, idealised far beyond his sense of his own worth, is a human being who bleeds.

It’s an intense performance, in a three-hour play. How did you unwind after the show? My first thought is that I was always unbelievably hungry. Thankfully, Covent Garden is not short of places to buy a hamburger. I will always be grateful to all of them.

How did you modify your performance for the NT Live filming? The whole production for NT Live was very much the same as it was every night during our 12-week run. Naturally, as a company, we couldn’t help but be aware of cameras on all sides, especially in a space like the Donmar. We were all so grateful that the National Theatre Live team had come over the river to the Donmar. I always hoped the broadcast would capture the headlong intensity of the whole thing. The play opens with a riot, and does not stop.

What have you been watching during lockdown? I was gripped, moved and inspired by The Last Dance, the documentary series about Michael Jordan and the Chicago Bulls in the mid-90s (Steve Kerr!). Normal People for its two extraordinary central performances from Paul Mescal and Daisy Edgar-Jones. I’ve rewatched old tennis matches, which somehow I have found very comforting: in particular, the 2014 Djokovic/Federer Wimbledon final. And – because we all need cheering up – Dirty Dancing.

[ericdeggans]

How My Love for Sean Connery and Bond Led to a Serious Case of White Guy Hero Infatuation Syndrome

Like a lot of people all over the world, I have long considered myself a stone Sean Connery fan.

I often recited the juiciest dialogue bits from his Oscar-winning turn as a beat cop-turned crusader in he Untouchables (in addition to the speech everyone quotes, I loved how he told Eliot Ness he knew he was a treasury agent without seeing his badge because “who would claim to be that who was not?”) I watched the painfully clumsy 1986 B-movie Highlander mostly for his charming turn as Egyptian (!) immortal Juan Sánchez-Villalobos Ramírez.

And, of course his work as James Bond always set the ultimate example for urbane cool. Which explains why I often felt the theme song thrumming in my head whenever I wore a stylish suit or hopped off a plane in a cool city. For men from the generation before mine, he practically defined the sophisticated, stylish machismo found in the pages of Esquire and Playboy.  

For these reasons and more, I have always loved the rogueish Scotsman as an actor. And yet, when news of his death at age 90 spread across the world, I couldn’t bear to pay tribute to him on my social media pages, until now.

That’s because his passing highlighted my problem with a particular malady. I call it White Guy Hero Infatuation Syndrome. And I have suffered from it for many years.

Put simply, my fan’s brain knows that Connery’s landmark performances were the stuff of film legend – especially as Bond. Cool, authoritative, suavely menacing and mostly unflappable, his take on a secret agent who knows the best suit designers nearly as well as the best pistol manufacturers set the template for escapist espionage fantasies over the next half century and beyond.

His first line as the character – “Bond. James Bond.” – has become pop culture legend.

But as a media critic, I also have to contend with James Bond’s status as a relentless sexist and a British agent who walked the world as if it was made to be ruled by wealthy, capable white men. Watch him slap the behind of a pretty blonde who was massaging him poolside in 1964’s Goldfinger when CIA agent Felix Leiter turns up for a chat. “Man talk,” he tells her dismissively, sending her out of the scene.

Or check out how he treats Quarrel, the bug-eyed Black man who acts as a “fixer” for him in Jamaica during the first Bond film, 1962’s Dr. No. Scrambling across a beach to avoid the bad guys’ goons, Bond turns to Quarrel and tells him “fetch my shoes” -- as if he were his butler, rather than a local ally helping him avoid thugs with automatic weapons.

And there’s loads of scenes where Bond forces himself on women who quickly succumb to his charms – like Honor Blackman’s character in 1964′s Goldfinger – perpetuating a dangerous myth that a man can earn a woman’s love by pushing her into being romantic with him. (Or that a dismissive, vaguely annoyed tone with women – treating them like impertinent children or misguided simpletons – is also, somehow, irresistible to them.)    

When Connery played Bond, he played a character who was the embodiment of white privilege. He made it look sexy, virtuous and necessary – the natural state of things in a 1960s-era world that, outside the comfortable confines of Bond’s make-believe spy games, seemed to be coming apart at the seams. But in the America of 2020, it’s a symbol of how media can teach you to accept a limiting legend.

And this was a fantasy I bought into eagerly. As a kid, my mom and I bonded over the heroic white guys she loved on film and TV, mostly from westerns. Just this past December, as she was fighting cancer and months before she would succumb to an infection, we sat and watched Clint Eastwood, Charles Bronson, Kevin Costner and Robert Duvall save the day too many times to count.

As I got older, I’d make fun of all the misogyny, racism and white centering going on in these shows – gibes which my mother, a proud Black woman who loved her people and culture, tolerated with a weary smile. “These are my guys,” she’d say playfully, swatting aside any idea that there was a deeper impact from gorging on stories which treated these virtuous white men as the noble, natural center of every story. I wish the issue were that simple; it often isn’t.

For me, it wasn’t just a problem with Connery. As a kid, I loved Eastwood’s 1970s-era Dirty Harry movies, where the taciturn cop with a Magnum pistol cut through all the nonsense to nab the bad guy. Same with Bronson’s Death Wish films, where the solution to rampant street crime wasn’t better policing, but a taciturn, middle class white guy with a gun shooting down street criminals. It’s a potent fantasy, especially if you’ve ever had to deal with the numbing bureaucracy of real-life law enforcement or the brutal violation of being a crime victim.

It wasn’t until I got older that I realized many of those bad guys Harry Callahan was hunting were young hippies and Black people – the kind of folks who, in real life when Dirty Harry was released in 1971, were trying to get America to face how it was chewing up poor, young men in an unwinnable, unnecessary war in Vietnam. It was a prime example of “copaganda” – convincing the audience that the excesses Detective Callahan committed to nail a person the audience already knew was a serial killer, was justified.

Even now, I wonder: Can I watch these movies and appreciate why they are thrilling, while rejecting the tropes that present a white male-centered world as just and appropriate? In my work on race and media, I’m often telling audiences that people who insist they are not affected by media subtexts are often the most affected by them. Couldn’t that be true for me, when it comes to heroes like Eastwood, Bronson and Connery?

(One caveat: Sitting in an arena in Tampa, watching Eastwood give his infamously strange “empty chair” speech at the Republican National Convention in 2012, broke me of my affection for his work. I have avoided watching new Clint Eastwood films since then. Click here to read my report on the empty chair speech for the Tampa Bay Times.)

In his later years, Connery denied or walked back quotes where he seemed to approve of physically hitting women in real life. His roles in films like Highlander, The Untouchables, Hunt for Red October, Indiana Jones and the Last Crusade and The League of Extraordinary Gentlemen often featured him playing the older mentor to younger white guy heroes portrayed by the likes of Harrison Ford, Alec Baldwin and Kevin Costner.

And so, as the question of Connery’s legacy in show business arises, the fanboy part of me is at war with the media critic. One side of me is lost in the absolute coolness of the suave masculinity he so often symbolized, particularly as the world’s most successful secret agent.

The other is painfully aware of the inequalities and oppression such portrayals enabled, and how much they may feed our real life fantasies for a powerful white male savior to set things right, even now. 

Especially now.

And saying these characters were a product of their flawed times somehow doesn’t seem enough.

This is a tough column to write, and not just because there are so many fans who want to focus on the best moments of Sean Connery’s life now that he’s gone. It’s difficult because he was a personal hero of mine for a long while – and remains one of my favorite performers – even as I acknowledge the terribly male-centric and white-superior ethos he embodied in so many roles.

This may sound like disrespectful nitpicking to hardcore fans and family. It’s never easy to sit with the more uncomfortable aspects of a great artist’s legacy. And the time after his death has been filled with heartfelt tributes to Connery, a man of great talent and no-nonsense sensibilities who was respected and loved by a great many people who worked with him.

Sometimes the media critic’s job requires being a buzzkill; insisting the public pay attention to troubling aspects of a film or TV show that we would all just rather sit back and enjoy. Because part of unwinding the effect of past portrayals is acknowledging their power in the present day.

Which means, every time I watch Connery stride to a baccarat table in Goldfinger, Dr. No, or Diamonds Are Forever, archly demanding a precisely constructed alcoholic beverage, I also have to remind myself of the damage done by too many characters like that offering too constricted a vision of what a hero looks and acts like. And I suggest you do the same.

It's the only way to balance a comforting myth with the reality of how that legend can, unwittingly, teach us to cling to ideas that ultimately hold us back.      

[themosleyreview]

The Mosley Review: Red Notice

Ya know, the heist film genre hasn't really had a film to revitalize it the way it should be. We've had films like Den of Thieves, Triple Frontier or even Good Time that are fantastic in their own right, but it seems that films like those are always too far and between. We've gone for the more dramatic, tension filled and slow burn approach to the story instead of just a fun action film. Well this film decided to go against the curent grain of heist films and tried to tell a fun, globe trotting adventure and for the most part it worked. I liked the constant game of cat and mouse, but something was truly missing to make this film more memorable. I appreciated the style of action and the certain charm about it, but if you were looking for something that would knock you off your feet with an amazing twist you didn't see coming, then look somewhere else. I hate it when a story shows its hand so early and then tries to be clever in the end after already showing you the full deck.

Dwayne Johnson leads this film as the Agent John Hartley and he's exactly what you'd expect. He delivers his standard action hero stoicism in each scene, but doesn't do anything performance wise that is special. Ryan Reynolds is the famous thief Nolan Booth and he was fun when he wasn't constantly dropping quips. Ryan was basically his comedic self in this film and he was a mixed bag of fun and annoyance. There are some genuinely hilarious moments but after while. you realize that he's just there for the jokes. Gal Gadot was stunning and fun as The Bishop. She really gave off the "Carmen San Diego" vibe as Hartley and Booth race to beat her to the main heist of the story. All three of the leads were fun to watch on screen together and had excellent chemistry. Chris Diamantopoulos chewed up the scenery he had as the villainous Sotto Voce. He may not be the main objective, but his commitment was deliberate.

The score by Steve Jablonsky was good and adventure fueled. It's not as memorable as some of his past work, but it gets the job done in keeping the tension fueled and the action fun. The score almost had a few influences from the Bond films of late if you ask me. Visually the film was great to look at and the cinematography really pops in the third act of the film. As far as heist action adventure films go, this one was a perfect film to be released on a streaming service and not on the big screen. If you want something that is fun, doesn’t take itself too seriously and reminds you of the late 90's to early 2000's adventure films, then this is for you. Its not gonna be a memorable film, just a fun one. The Netflix Original is currently streaming. Let me know what you thought of the film or my review in the comments below. Thanks for reading!

[gorogues]

Mark Waid Interview From The Flash Companion

I don’t know if you know about this (you probably do, since The Flash Companion was published over ten years ago), but one of the interviews in the book is with Mark Waid, and in that interview he talks about how he handled the Rogues, and I thought that it was interesting (if kind of frustrating for a fan of the Rogues). The relevant part happens when John Wells, the interviewer, asks Waid if he viewed the classic Rogues as “softened to the point where they no longer represented a credible threat”: 

Waid: Yeah. I love all the Rogues like I love all DC characters, but despite Geoff Johns’ excellent Rogue stories, I still have a very difficult time conceiving of men who wear fur-lined cowls or fire flamethrowers as credible threats against the Fastest Man Alive. Not saying they can’t be -just saying that I have a hard time wrapping my head around it. And, yes, I know, somewhere in me, ten-year-old Mark Waid is screaming in agony, “Blasphemer!” But throughout the ‘70s and ‘80s, and even the early ‘90s, I think the Rogues through no fault of their own had become very much a joke to other writers-toothless threats. Shorthand for “easy to beat”, like the Ringmaster’s Circus of Crime over at Marvel. Add to that, I’m not good with creating and writing villains. I'l be the first to admit I’m much better with heroes. Certainly, some of our attempts to jazz up the Rogues’ Gallery were, at best, ill-conceived. I don’t think that Razar is a villain who’ll ever be immortalized in action figure form. I don’ think that Replicant, as well-intentioned as his creation was, is something that anybody’s ever going to remember fondly in the years to come. (Longitudinalwavme’s note: I actually like Replicant.) But I really had a hard time with the Rogues, and it’s not their fault…..Abra Kadabra would show up every time I really needed somebody who was scary. 

The interviewer asks him to elaborate on Kadabra.

Waid: I’ve been a huge fan of stage magic all my life, so that’s an attraction. I love the notion of 64th century science appearing as magic to us. And I love, love, love when a villain has a secondary psychosis (Longitudinalwaveme’s minor rant about psychological accuaracy: THAT IS NOT WHAT PSYCHOSIS MEANS!), a weird Achilles’ heel. I thought establishing that the Riddler can’t commit crimes without sending riddles was genius. I think it’s great that Captain Cold has a thing for beauty queens. And Kadabra’s gimmick, that he craves applause and can’t function well without it, is just such a charming extension of performer-as-supervillain that I find it irresistible.

The interviewer asks him why he killed off the Rogues in Underworld Unleashed. 

Waid: Because I’m weak. Because I fell in with the…I just fell in with the gestalt of the era, which was that “out with the old, in with the new” mentality that everyone in comics was championing. I wish we hadn’t done it, and I would love to tell you with a straight face that we offed them already knowing that we were going to bring them back in the “Hell to Pay” arc (Longtidunialwaveme’s note: I liked that arc), but that’s not true. We were just desperate to send a shot across the bow, to send the signal that villainy in the DCU was about to become much scarier. I regret that take now. I regret the “everything old must be cheesy” philosophy. I think, as we’ve seen over and over again, I think the much sharper approach is to either ignore what you don’t like or take what’s there and build on it rather than just put a bullet through its head. (Longitudinalwaveme’s note: I wish more current writers would follow this philosophy.) 

And then he talks about the Trickster’s role in Underworld Unleashed: 

Waid: That (James) was the best thing to come out of Underworld Unleashed, and I regret that it’s a piece of his characterization that no one ever picked up on after I left. (Longitudinalwaveme’s note: I regret that too.) I loved the idea of a villain who’s forced to reform because he doesn’t dare go to Hell now that the Devil has it out for him. 

Hopefully this is at least marginally interesting. 

[Awesome, thanks for sending it in!  I’ve got the book and have transcribed a few of the interviews from it, but not Waid’s.  I find interviews with creators fascinating.  – Lia]

[greatfay]

controversial opinions?

Cold pizza actually not good. Tastes like angry bacteria.

There’s a completely separate class of gay men who are in a different, rainbow-tinted plane of reality from the rest of us and I don’t like them. They push for “acceptance” via commercialization of the Pride movement, assimilation through over-exposure, and focus on sexualizing the movement to be “provocative” and writing annoying articles that reek of class privilege instead of something actually important like lgbtqa youth homelessness, job discrimination, and mental health awareness.

Coleslaw is good. You guys just suck in the kitchen.

Generational divides ARE real: a 16-year-old and a 60-year-old right now in 2021 could agree on every hot button sociopolitical topic and yet not even realize it because they communicate in entirely different ways.

Sam Wilson is a power bottom. No I will not elaborate.

Allison’s makeover in The Breakfast Club good, not bad. She kept literally and metaphorically dumping her trash out onto the table and it’s clearly a cry for help. Having the attention and affection of a smart, pretty girl doing her makeup for her was sweet and helped her open up to new experiences. Not every loner wants to BE a loner (see: Bender, who is fine being a lone wolf).

Movie/show recommendations that start with a detailed “representation” list read like status-effecting gear in an RPG and it’s actually a turn-off for me. I have to force myself to give something a try in spite of it.

Yelling at people to just “learn a new language” because clearly everyone who isn’t you and your immediate vicinity of friends must be a lazy ignorant white American is so fucking stupid, like I get it, you’re mad someone doesn’t immediately know how to pronounce your name or what something means. But I know 2 languages and am struggling with a 3rd when I can between 2 jobs and quite frankly, I don’t have the time to just absorb the entire kanji system into my brain to learn Japanese by tomorrow night, or suddenly learn Arabic or Welsh. There are 6500 recorded languages in the world, what’s the chance that one of 3 I’ve learn(ed?) is the one you’re yelling at me about. Yes this is referring to that post yelling at people for not knowing how to pronounce obscure Irish names and words. Sometimes just explaining something instead of admonishing people for not knowing something inherently in the belief that everyone must be lazy entitled privileged people is uh... better?

Stop fucking yelling at people. I despise feeling like someone is yelling at me or scolding me, it triggers my Violence Mode, you don’t run me, you are not God, fuck off. Worst fucking way to "educate” people, it just feels good in the moment to say or write and doesn’t help. Yes I’ve done it before.

Violence is good actually.

Characters doing bad things ≠ an endorsement of bad things. Characters doing bad things that are unquestioned by the entire rest of the cast = endorsement of bad things, or at the least, a power fantasy by the creator. See: Glee, in which Sue’s awfulness is constantly called out, while Mr. Shue’s awfulness rarely is because he’s “the hero.” See also: the Lightbringer series, in which the protagonist is a violent manipulator who is praised as clever, charming, diplomatic, and genius by every supporting character (enemies included), despite the text never demonstrating such.

Euphoria is good, actually. It falls into this niche of the past decade of “dark gritty teen shows” but actually has substance behind it, but the general vibe I get from passive-aggressive tumblr posts from casual viewers is that this show is The Devil, and the criticism of its racier content screams pearl-clutching “what about the children??” to me.

Describing all diagnosed psychopaths as violent criminals is a damaging slippery slope, sure. But I won’t be mad at anyone for inherently distrusting another human who does not have the ability to feel guilt and remorse, empathy, is a pathological liar, or proves to be cunning and manipulative.

It’s actually not easy to unconditionally support and love everyone everywhere when you’ve actually experienced the World. Your perspective and values will be challenged as you encounter difficult people, experience hardship, are torn between conflicting ideas and commitments, and fail. My vow to never ever call the cops on another black person was challenged when an employee’s boyfriend marched into the kitchen OF AN ESTABLISHMENT to scream at her, in a BUSINESS I MANAGED, and threaten to BEAT the SHIT out of her. Turns out I can hate cops and hate that motherfucker equally, I am more than capable of both.

Defending makeup culture bad, actually. Enjoy it, experiment, master it, but don’t paint it as something other than upholding exactly what they want from you. Even using makeup to “defy the heteropatriarchal oppressors!” is still putting cash in their pockets, no matter how camp...

Not every villain needs to be redeemed, some of you just never outgrew projecting yourself onto monsters and killers.

Writing teams and networks queerbaiting is not the same as individuals queerbaiting. Nick Jonas performing exclusively at gay clubs to generate an audience really isn’t criminal; if they paid to go see him, that’s on them, he didn’t promise anyone anything other than music and a show. Do not paint this as similar to wealthy, bigoted executives and writing teams trying to snatch up the LGBTQA demographic with vague ass marketing and manipulative screenplays, only to cop out so as not to alienate their conservative audiences. And ESPECIALLY when the artists/actors/creators accused of queerbaiting or lezploitation then come out as queer in some form later on.

Queer is not a bad word, and I’ve no clue how that remains one of few words hurled at LGBTQA people that can’t be reclaimed. It’s so archaic and underused at this point that I don’t get the reaction to it compared to others.

People who defend grown-woman Lorelai Gilmore’s childish actions and in the same breath heavily criticize teenage religious abuse victim Lane Kim’s actions are not to be trusted. Also Lane deserved better.

Keep your realism out of my media, or at least make it tonally consistent. Tired of shows and movies and books where some gritty, dark shit comes out of nowhere when the narrative was relatively Romantic beforehand.

Actually people should be writing characters different from themselves, this new wave in the past year of “If you aren’t [X] you shouldn’t be writing [X]” is a complete leap backward from the 2010s media diversity movement. And if [X] has to do with an invisible minority status (not immediately visible disabilities, or diverse sexual orientations and gender identities, persecuted religious affiliations, mental illness) it’s actually quite fucked up to assume the creator can’t be whatever [X] is or to demand receipts or details of someone’s personal life to then grant them “permission” to create something. I know, we’re upset an actual gay actor wasn’t casted to play this gay character, so let’s give them shit about it: and not lose a wink of sleep when 2 years later, this very actor comes out and gives a detailed account of the pressure to stay closeted if they wanted success in Hollywood.

Projecting an actor’s personal romantic life and gender identity onto the characters they play is actually many levels of fucked up, and not cute or funny. See: reinterpreting every character Elliot Page has played through a sapphic lens, and insulting his ability to play straight characters while straight actors play actual caricatures of us (See also: Jared Leto. Fuck him).

I’m fucking sick of DaBaby, he sucks. “I shot somebody, she suck my peepee” that’s 90% of whatever he raps about.

“Political Correctness” is not new. It was, at one point, unacceptable to walk into a fine establishment and inform the proprietor that you love a nice firm pair of tits in your face. 60 years ago, such a statement would get you throw out and possibly arrested under suspicion of public intoxication. But then something happened and I blame Woodstock and Nixon. And now I have to explain to a man 40 years my senior that no, you can’t casually mention to the staff here, many of whom are children, how you haven’t had a good fuck in a while. And then rant about the “Chinese who gave us the virus.” Can’t be that upset with them if you then refused to wear your mask for 20 minutes.

Triggering content should not have a blanket ban; trigger warnings are enough, and those who campaign otherwise need to understand the difference between helping people and taking away their agency. 13 Reasons Why inspired this one. Absolutely shitty show, sure, but it’s a choice to watch it knowing exactly what it contains.

Sasuke’s not a fucking INTJ, he’s an ISFP whose every decision is based off in-the-moment feelings and proves incapable of detailed and logical planning to accomplish his larger goals.

MCU critique manages to be both spot-on and pointless. Amazing stories have been told with these characters over the course of decades; but most of it is toilet paper. Expecting a Marvel movie to be a deeply detailed examination of American nationalism and imperialism painted with a colorful gauze of avant-garde film technique is like expecting filet mignon from McDonalds. Scarf down your quarter pounder or gtfo.

Disparagingly comparing the popularity and (marginal) success of BLM to another movement is anti-black. It is not only possible but also easy to ask for people’s support without throwing in “you all supported BLM for black people but won’t show support for [insert group]” how about you keep our name out your mouth? Black people owe the rest of the world nothing tbh until yall root out the anti-blackness in your own communities.

It is the personal demon/tragic flaw of every cis gay/bi/pan man to externalize and exorcize Shame: I’m talking about the innate compulsion to Shame, especially in the name of Pride and Progress. Shame for socioeconomic “success,” shame for status of outness, shame for fitness and health, shame for looks, shame for style and dress, shame for how one fits into the gender binary, shame for sexual positions and intimacy preferences, shame for fucking music tastes. Put down the weapon that They used to beat you. Becoming the Beater is not growth, it’s the worst-case scenario.

Works by minorities do not have to be focused on their marginalized identities. Some ladies want to ride dragons AND other ladies. The pressure on minorities to create the Next Great Minority Character Study that will inevitably get snuffed at the Oscars/Peabody Awards is some bullshit when straight white dudes walk around shitting out mediocre screenplays and books.

Canadians can stfu about how the US is handling COVID-19 actually. Love most of yall, but the number of Canadian snowbirds on vacation (VACATION??? VA.CAT.ION.) in the supposed “hotbed” of my region that I’ve had to inform our mask policies and social distancing to is ASTOUNDING. Incroyable! I guess your country has a sizable population of entitled, privileged, inconsiderate, wealthy, and ignorant people making things difficult for everyone, just like mine :)

No trick to eliminate glasses fog while wearing my mask has worked, not a single one, it actually has affected my job and work speed and is incredibly frustrating, and I have to deal with it and pretend it’s not a problem while still encouraging others to follow the rules for everyone’s safety and the cognitive dissonance is driving me insane.

It’s really really really not anti-Japanese... to be uncomfortable with the rampant pedophilia in manga and anime, and voice this. I really can’t compare western animation’s sneakier bullshit with pantyshots of a 12-year-old girl.

Most of the people in the cottagecore aesthetic/tag have zero interest in all the hard work that comes with maintaining an isolated property in the countryside, milking cows and tending crops before sunrise, etc. And that’s okay? They just like flowers and pretty pottery and homemade pastries. Idk where discourse about this came from.

You think mint chip ice-cream tastes like toothpaste because you’re missing a receptor that can distinguish the flavors, and that sucks for you. It’s a sort of “taste-blindness” that can make gum spicy to some while others can eat a ghost pepper without crying.

Being a spectacle for the oppressive class doesn’t make them respect us, it makes them unafraid of us. This means they continue to devour us, but without fear of our retaliation.

Only like 4 people on tumblr dot com are actually prepared for the full ramifications of an actual revolution. The rest of you just really imprinted onto Katniss, or grew up in the suburbs.

Straight crushes are normal. They’re people first, sexual orientation second. Can’t always know.

The road to body positivity is not easy, especially if what you desire is what you aren’t.

You’re actually personally responsible for not voluntarily bringing yourself into an environment that you know is not fit for you unless you have the resolve to manage it. Can’t break a glass ceiling without getting a few cuts. This one’s a shoutout to my homophobic temp coworkers who decided working a venue with a drag show would be a good idea. This is also is a shoutout to people who want to make waves but are surprised when the boat tips. And also a shoutout to people who—wait that’s it’s own controversial opinion hold up.

Straight people can and should stay the fuck out of gay bars and queer spaces. “yoUrE bEInG diVisiVe” go fuck yourself.

[honeyopinion]

20/20 Albums of the Year

Circles by Mac Miller  |  Hip-Hop, Soul, Funk Released: January 17, 2020

Best Album For... Pouring One Out for Mac

I wrote a few different drafts of this album summary, and none of them felt like they really fit the impossibly large bill of accurately describing the posthumous importance or brilliance of this album. If you are a fan of hip-hop or soul music of any kind, try to give this piece of work a chance. I for one, used to judge Mac based on his early frat rap days in the late 2000s. But a decade later he came to leave the world with one of the most surprising and frankly impressive artistic evolutions that I’ve been able to witness in real time. RIP Mac. 

Spotify      Apple Music      YouTube      Pandora 

Start With: “Circles” or “Everybody”

Marigold by Pinegrove  |  Alternative Country and Folk Rock Released: January 17, 2020

Best Album For… Passing Through a Small Town on a Cloudy Winter Day 

Pinegrove was one of the last great concerts I got to experience before the pandemic. And it was my favorite performance of theirs from the last 6 years of seeing them play live. Is this my favorite album of theirs? Honestly, it’s not. But I still find it extremely enjoyable, and the memory of seeing these songs performed live, along with some of their classics, was enough for me to include it on this list. This is an album that marks Pinegrove’s exit from their pop punk roots. It’s still sentimental, but much more country and folk rock focused vs. anything trying to be associated with emo or punk. 

Spotify      Apple Music      YouTube      Pandora   Start With: “The Alarmist” or “No Drugs”

Watch This Liquid Pour Itself by Okay Kaya  |  Synth Pop, Art Rock, Folk Released: January 24, 2020

Best Album For… Crywanking at 3am, Bathed in The Dull Light of Your Overheating Laptop

What if Feist and Father John Misty had a secret love child? They might sound something like Okay Kaya. Self proclaimed “Singer ~ Crywanker,” Okay Kaya brings serious BDE to weirdo art pop that she seems like she could be a plant  from the mind of Nathan Fielder. Kaya delivers with such deadpan precision as she rolls out line after line of sarcastic joy, staring blankly at our dystopian reality. “Here I am, the whole world is my daddy,” “Netflix and yeast infection,” “Sex with me is mediocre,” “I just want us to do well like Jon Bon Jovi’s Rosê,” and, “My parasite and I are blushing / In the zero interaction ramen bar,” are just a few examples of some of her memorable and biting lyrics. The entire album is both a critique and nihilistic fondness for the absurdity of our lonely technological society, not quite sure how to deal with taboos like repressed female sexuality, depression, and codependency. 

Spotify      Apple Music      YouTube      Pandora  

Start With: “Baby Little Tween” or “Asexual Wellbeing”

UNLOCKED by Denzel Curry and Kenny Beats  |  Hip-Hop Released: February 7, 2020

Best Album For... Nodding Your Damn Head To, Feeling Cooler Than You Actually Are

I had to double check that this was an album. Clocking in under 20 minutes, this collection of songs feels more like an EP, especially with the track titles that purposefully look like file names and placeholders. But for a short album, Denzel wastes no time, furiously zigging and zagging effortlessly over Kenny Beats’ 90s New York-indebted production (ad libs and all). Kenny pulls out samples of an array of pop culture references made by Denzel (like quotes from movies and weapon sound effects like a lightsaber) — as he rotates his flow between admirable impressions of DMX, Nas, and Joey Bada$$.

Spotify      Apple Music      YouTube      Pandora  

Start With: “So.Incredible.pkg” or “DIET_”

Cardboard City by Zack Villere  |  Pop, Electronic, R&B Released: February 14, 2020

Best Album For… Pal-ing Around With Your Friends From High School, Maybe Quoting Superbad At The Same Time

The first time I watched a music video from Zack Villere, I noticed the top comment said: “how did frank ocean get trapped in mark zuckerberg.” And while that definitely gets at the heart of how Zack Villere presents himself, he is not a phenomenal singer like Frank Ocean is, nor does he come off as an asshole like Mark Zuckerberg does. I would say that he is just a slightly awkward nerdy white guy who loves hip-hop production and R&B melodies. So the better question is really, “how did drake get trapped in michael cera?” This premise should not work at all, but somehow it does. This is only Villere’s second album, but he shows some serious production and songwriting chops, plus a commitment to his delivery that comes across as genuine, charming, and unique. 

Spotify      Apple Music      YouTube      Pandora  

Start With: “Grateful” or “Superhero Strength”

The Slow Rush by Tame Impala  |  Psych Rock, Synth Pop, Disco Released: February 14, 2020

Best Album For... Throwing a Silent Disco For One 

Tame Impala continues on their now 10 year streak of psych rock dominance. Along the way we’ve seen Kevin Parker master and stretch the boundaries of psychedelic production. This has resulted in his music coming as close to sounding like the best aspects of The Beatles, while also expanding into hip hop drums, R&B hooks, plus more and more electronic elements. This is an album that I was not super impressed with when it initially came out, but as we entered the pandemic and were tasked with finding small joys in staying at home all the time, I found myself going back to this album and appreciating the themes of solitude and self reflection that Parker has drawn from throughout his career.

Spotify      Apple Music      YouTube      Pandora  

Start With: “Posthumous Forgiveness” or “One More Hour”

1988 by Knxwledge  |  Hip-Hop Released: March 27, 2020

Best Album For... Pumping Your Brakes and Driving Slow, Uh *Homie* Although this album is named after a year in the 80s, the sound here is a perfect portal back to 90s golden era hip-hop, with all the gospel, soul samples, and the kind of deep bass you want to feel in your chest. This is the rare, largely instrumental hip-hop album that I find myself going back to, other than works from the legendary J Dilla and MF Doom. Knxwledge is good friends and a frequent collaborator with Anderson .Paak (in the form of NxWorries). Here we get Anderson to grace us with his presence on the track “itkanbe[sonice]”, and of course it sounds just like an authentic vintage soul sample. When I hear this collection of songs it makes me wish I still had a car, so I could inevitably damage my speakers listening to this.

Spotify      Apple Music      YouTube      Pandora  

Start With: “dont be afraid” or “thats allwekando.”

Future Nostalgia by Dua Lipa  |  Pop, R&B, Funk, Disco Released: March 27, 2020 Best Album For... Alarming Your Pet With Your Enthusiastic Lip Syncing

This album is a pure sugar rush. Like Bruno Mars with the help of Mark Ronson, or Calvin Harris a few years ago, Dua has harnessed a nostalgia (it’s even in the title, wink) for disco, funk and R&B, and is instantly a sexy, catchy, not-so-guilty pleasure. It’s sad that the majority of these songs are all bonafide club hits that didn’t have a proper home this year … except for my living room. And hopefully yours.

Spotify      Apple Music      YouTube      Pandora 

Start With: “Pretty Please” or “Future Nostalgia”

Hold Space For Me by Orion Sun  |  Alternative R&B and Hip-Hop Released: March 27, 2020

Best Album For... Wishing Frank Ocean Was Your Dad

“Alternative R&B” is a contentious term, but what else would you call one of a few R&B singers cool enough to make it onto (NYC indie darlings) Mom+Pop Records?? On one hand, she brings the vulnerable and introverted lyrics of an indie singer songwriter like Tracey Chapman, crossed with the raw presence and sweet melodic delivery of a true R&B star like Aaliyah. I’d even go far enough to refer to her as the musical stepchild of Frank Ocean and SZA.

Spotify      Apple Music      YouTube      Pandora

Start With: “Ne Me Quitte Pass (Don’t Leave Me)” or “Lightning”

You and Your Friends by Peach Pit  |  Indie Rock and Dream Pop Released: April 3, 2020

Best Album For... Going Back To Your College Town To Crash A Party

Peach Pit seem like they would be cool dudes to hang out with. You have no problem picturing them as the band playing a house show in an indie movie about college kids. And that’s because there’s a familiarity to the scenes that their songs portray, of stumbling through your 20s, either being too dumb or having too much fun to notice. It’s funny to refer to this as “Indie” rock since this is Peach Pit’s major label debut with Columbia Records. But It has all the trappings of Indie; sticky melodies, gentle reverb, an “I’m not trying that hard” vibe, and lyrics that are oddly specific enough to be interesting, but still vague enough to be relatable.

Spotify      Apple Music      YouTube      Pandora  

Start With: “Feelin’ Low (Fuckboy Blues)” or “Shampoo Bottles”

Heaven To a Tortured Mind by Yves Tumor  |  Psych Rock, Indie Pop, Post-Punk, Alternative R&B, Experimental Electronic Released: April 3, 2020

Best Album For... Tearing Up The Fucking Dance Floor With Your Hot Robot Girlfriend

If Tyler the Creator, Alex G, King Krule, and Blood Orange all got into the studio together and dropped a shit ton of acid on Halloween, their recording session might sound something like Heaven To a Tortured Mind… And even then, you still might have trouble putting your finger on exactly what you’re hearing. “Dream Palette” is a good reference track for Tumor’s most wild and mesmerizing qualities. The biggest styles of the past half century of music have been loaded into this gleefully effective genre blender, with blades of dissonance slicing everything up, creating a surrealist sonic smoothie.

Spotify      Apple Music      YouTube      Pandora  

Start With: “Super Stars” or “Dream Palette”

The New Abnormal by The Strokes  |  Indie Rock, Dirtbag Disco, Synth Pop Released: April 10, 2020

Best Album For... Mixing Yourself Another Drink This Saturday Night

Back from the dead, The Strokes return with their first album in 7 years to turn some heads and settle back into some old habits. The charming messy haired garage rock of the early 2000s still pops up here and there, but this is really a record where the group is mature enough to show you that they actually are trying, and are unafraid to take joyous swings for the fences. Julian Casablancas pushes his scratchy alley cat yelp of a voice into something more vulnerable, sunny, and sweet, like he asked for a piña colada (you know, with one of those little umbrellas) instead of a double shot of scotch before hopping up on stage… Or maybe he did both. But these days, everyone is looking for some sort of break from our groundhog day lives any way that we can. Sometimes that sounds like selling out, or depending on how you look at it, stepping up. This album is the result of a group of old friends who got together to make music they simply want to make for themselves. Now far removed from the 2000s New York scene where their younger selves were acting too cool and disaffected to care about having fun.

Spotify      Apple Music      YouTube      Pandora  

Start With: “Eternal Summer” or “The Adults Are Talking”

The Loves of Your Life by Hamilton Leithauser  |  Indie Rock and Alternative Country Released: April 10, 2020

Best Album For... Drinking Down At The Docks, Watching The Sun Set

While I am a fan of The Walkmen, I have no idea what their frontman Hamilton Leithauser looks like or how he dresses. But hearing these songs off of his latest solo, I imagine the following: a member of Mumford and Sons if they were edgy and cooler, giving off a “cowboy rocker meets depression-era dock worker” aesthetic. That’s exactly how his music comes off to me. It’s a convincing blend of blues rock, Americana, and old timey country music. All expertly narrated by dusty country guitars and standup bass, tarnished horns and flutes, and what I imagine to be a restored saloon piano. The Loves of Your Life originally started as a collection of short stories, each about characters based on both people he knew and strangers. Leithauser then wrote the music separately, and finally came to mix and match their parts together in a surprisingly convincing fashion to create the album.

Spotify      Apple Music      YouTube      Pandora  

Start With: “Wack Jack” or “Cross-Sound Ferry (Walk-On Ticket)”

What Kinda Music by Tom Misch and Yussef Dayes  |  Neo-Soul, Electronic, Hip-Hop

Released: April 24, 2020

Best Album For... Cooking For Someone You’re In Love With

Exactly what kind of music do Tom Misch and Yussef Dayes make? It’s orchestral, it’s jazz-infused, it’s hip-hop beats joined with gentle soul. It’s a little sexy, it’s a little mysterious, and you’re going to want to listen to it a whole lot. That’s it. That’s what kind of music it is! Send tweet. 

Spotify      Apple Music      YouTube      Pandora  

Start With: “What Kinda Music” or “Storm Before The Calm”

Petals For Armor by Hayley Williams  |  Electronic Pop and Art Rock Released: May 8, 2020

Best Album For... Browsing Depop for Your Next 80s Normcore ‘Fit

Hayley, Hayley, Hayley. You are too good for this wretched world!! After exploring more adventurous sounds and genre hopping over the last few Paramore records, Hayley decided to go out on her own. This really frees herself from the expectations that come along with being the face and heart of a wildly popular band for the last 15+ years. Thom Yorke fans rejoice, because Hayley Williams has a clear admiration for Radiohead’s haunting indie electronic vibe, while emoting some pain and darkness atop her love for 80s pop and art rock (think Genesis, Devo, The Talking Heads). This is a promising new avenue for Hayley to explore herself and process her pain and desire completely on her own. I see this new project of hers only blooming further from here.

Spotify      Apple Music      YouTube      Pandora 

Start With: “Simmer” or “Sudden Desire” 

Set My Heart On Fire Immediately by Perfume Genius  |  Indie Pop and Art Rock Released: May 15, 2020

Best Album For... Daydreaming That You Were Somewhere Else

For his 5th studio album, Perfume Genius enlists production wizard and guitar god Blake Mills, along with Grammy Award-winning arranger and multi-instrumentalist Rob Moose to create a beautiful swirling mosaic of 80s pastel pop that also packs serious classic rock grandeur. Bass guitar dances between satin smooth lines on one song to churning distorted currents on the next. Sparkling string arrangements and organs bleed together to expose a fading sunset that you’ll want to try and hold in your hands to keep it in sight. Perfume Genius is unafraid to challenge traditional masculinity, packing a 21st century queer machismo into both the quiet moments and jubilant explosions.

Spotify      Apple Music      YouTube      Pandora 

Start With: “Without You” or “Describe”

græ by Moses Sumney  |  Indie Pop, Art Rock, Neo-Soul, Psychic Folk Released: May 15, 2020

Best Album For... Astral Projection 101 

I mean this in the best way possible, but I think that Moses Sumney is a witch. Or maybe a wizard? There’s no other reasonable explanation for the level of creativity and wonder that he summons. This album feels like a private concert by a waterfall (similar to one on the cover), with ethereal pleas, and heavy ideas—like meditating on what lies beyond the constraints of the physical self and reconsidering how well we can actually trust memory and the mind. Sumney layers his voice to create the effect of a ghostly choir, accented by a stark intimidating falsetto that reverberates through the ruins of an abandoned temple where Sumney is the only one in attendance.

Spotify      Apple Music      YouTube      Pandora  

Start With: “Cut Me” or “Polly”

WILL THIS MAKE ME GOOD by Nick Hakim  |  Psychedelic Neo-Soul Released: May 15, 2020

Best Album For... Playing Pool in a Hazy Dive Bar

Nick Hakim is a silky smooth smokey crooner who paints with warbly piano loops, dreamy reverb-heavy guitar, boom bap beats—not to mention a falsetto that would make Smokey Robinson jealous. Clearly a fan of Motown and 60s jazz, Hakim could be considered a peer of Thunder Cat and Anderson .Paak’s to a degree. I remember seeing him perform at Music Hall of Williamsburg a few years ago. The performance ended with him falling down on stage (presumably from being under the influence of multiple substances). But while the song continued he popped back up and belted an impressive high note like it was nothing, drink in hand. And it’s that kind of messy beauty that also makes this album so engrossing. Like watching the eye of the storm get closer and closer, but unable to look away from the sheer magnetism that nature can wield.

Spotify      Apple Music      YouTube      Pandora  Start With: “All THESE CHANGES” or “ALL THESE INSTRUMENTS”

RTJ4 by Run The Jewels  |  Hip-Hop Released: June 3, 2020

Best Album For... Making Your Next Protest Sign

Run The Jewels’ fourth outing might be the most unapologetically angry rap album in the “fuck this” year of 2020. And it reminded me that I should absolutely still be furious about everything that happened during this groundbreaking yet terrifyingly familiar year: country wide protests over the continued murder of innocent black people at the hands of the police, government drone strikes and detaining kids in cages, the state of our environment worsening—and that’s not even addressing the pandemic or election. Killer Mike and El-P are here to scream from the rooftops that our current system of cutthroat capitalism and white supremacy is killing the planet and its inhabitants, and I’m glad that they’re using their platform to continue to sound the alarm.

Spotify      Apple Music      YouTube      Pandora  

Start With: “out of sight” or “ooh la la”

Your Hero Is Not Dead by Westerman  |  New Wave Revival and Indie Pop Released: June 5, 2020 Best Album For... Wanting Your Old School MTV

The cover of Westerman’s first proper album is mostly black and white, except for the title, which is scrawled out in lettering which spans the Crayola color spectrum. It’s an album that on the surface is cold and buttoned up, but when these choruses open up, the maximalist 80s power pop bursts like the bulbs of a neon sign. There’s a level of even-keeled cool and confidence in small moments on display here that makes this relatively new artist seem well beyond his years. Having seen him play at Rough Trade a few years ago (opening up for the stellar Puma Blue), the songwriting growth on display on this record is impressive. I’m only sad that there wasn’t an opportunity to have seen him play these new songs live.

Spotify      Apple Music      YouTube      Pandora 

Start With: “Easy Money” or “Confirmation (SSBD)” 

Punisher by Phoebe Bridgers  |  Indie Rock and Alternative Country Released: June 18, 2020

Best Album For... Burning Incense and Breaking Out a Ouija Board to Talk to The Ghost of Your Former Self

This is without a doubt, a career defining release for Phoebe. Taking everything she’s learned from writing, performing, and touring with the likes of Lucy Dacus and Julien Baker (in boygenius), and Conor Oberst (in Better Oblivion Community Center), Bridgers levels up to become the truly prolific singer-songwriter she’s been telling us she would always be. Bridgers has explained her personal definition of “a punisher” as a well meaning person who’s, “just talking to you and they don’t realize that your eyes are glazed over and you’re trying to escape.” Vital to understanding this album and its central message is that Phoebe finds herself caught between the contradiction of falling victim to this phenomenon while also doing it herself, especially if she ever met her musical idol, Elliott Smith. Punisher serves as a warning to her audience that if you focus too much on trying to find yourself through other people (via escaping through fandom, drugs, toxic relationships), you’ll always feel lost and dissatisfied, without the proper self awareness to ever quite know why. 

Spotify      Apple Music      YouTube      Pandora  

Start With: “Garden Song” or “ICU”

Women In Music Pt. III by HAIM  |  Rock, Pop, Folk, R&B Released: June 26, 2020

Best Album For... Preparing For A Better 2021, lol 

With this album, HAIM skyrocketed to the #1 position of family bands that start with an “H.” Sorry, Hanson! But seriously, HAIM has outdone themselves on this one. If there was one album from this list that I would dub my personal AOTY, this would be it. You might wince at any tracklist longer than 10-12 songs these days (I know I usually do), but almost every song proves itself worthy, pulling at a different thread of my heart until there’s nothing left. Sunshine State Beach Pop? Check. Blues Tinged Dad Rock? Yup! Dive Bar Country? Mmhmm! No, wait, what’s that you say, Glitched-Out R&B? Yes, yes, and yes. You can have it all, sister! ‘Cause when you’re Haim, you’re family! ;) And these three “women in music” continue to prove that they are just about the best Assorted Pop Rocks(™) act in the world right now.

Spotify      Apple Music      YouTube      Pandora  

Start With: “I’ve Been Down” or “Don’t Wanna”

Lianne La Havas by Lianne La Havas  |  Neo-Soul and Indie Pop Released: July 17, 2020

Best Album For... Sipping Coffee and Journaling on a Weekend Morning

This album exudes a warm vulnerability, like a comforting hug we all needed this year. On her third album, Lianne La Havas makes the risky decision to self title it, a move that artists make when they believe that it is the piece of work that they most want most directly associated with their name. It’s one thing to name your first album after yourself if you can’t think of anything else at the time, but to make a self titled album in the middle of your career, it means that you are sure about having captured who you really are and who you want people to remember you as. “If I love myself, I know I can't be no one else,” La Havas admits on the standout track, “Paper Thin.” She knows that she will meet her destiny and reach self actualization, but only through self love. And finally, I cannot overstate how breathtaking La Havas’s voice comes across on this album. The strength and control on display in her vocal tone and vibrato is quite a spectacle. 

Spotify      Apple Music     YouTube      Pandora  

Start With: “Paper Thin” or “Sour Flower”

Limbo by Aminé  |  Hip-Hop and R&B Released: August 7, 2020

Best Album For... Trying and Get Over Kanye With

On Limbo, Aminé establishes himself as one of the torchbearers of soul-sampling, lyrics-driven hip-hop that still cares about storytelling, skits, and presenting vocals clearly. Kanye West, Drake, and J. Cole all paved the way for someone from the next generation like Aminé to keep the dream alive and avoid succumbing to the “feel good, don’t think” form of passive listening that mumble rap has made the standard for mainstream hip-hop.

Spotify      Apple Music     YouTube      Pandora  

Start With: “Pressure In My Palms” or “My Reality”

Shore by Fleet Foxes  |  Folk and Indie Rock Released: September 22, 2020

Best Album For... Running Along The Beach With Your Arms Stretched Out

It was really kind of Robin Pecknold and co. to have released an album this triumphant, calming, and awe-inspiring during the year of our Lorde 2020. On behalf of myself and anyone else who suffers from Seasonal Affective Disorder, the SAD people of the world really needed this, man. And to anyone who is quick to judge these beard-o’s of being boring, you’re simply not using your ears properly. Yeah, you know those two things on either side of your head? Get the gunk out of them! That way you’ll hear the choir of angels with acoustic guitars who are here to guide us through quarantine and beyond. 

Spotify      Apple Music      YouTube      Pandora 

Start With: “Can I Believe You” or “A Long Way Past The Past” 

Listen to all of these albums together in our playlist.

[skamamoroma]

So curious about what you think of the other Julie and The Phantoms characters.

Ah how long have you got? I have been going between watching JATP and the second season of Ghosts (which is bloody brilliant) and the theme is strong right now!! Very very different shows though 😂

Before I watched, I expected the characters to be just too cheesy and kinda empty because I presumed it’d be another surface level family show but nahhhh! I was really pleasantly surprised and so damn endeared.

I’m guessing you’re meaning the other boys and Julie as I’ve already answered stuff about Alex before?

But oh man, Luke. Hahaha he reminds me of so many guys in the 90s who were adored by teenage girls everywhere! He’s such a little ball of infectious energy and cheekiness. He’s played with so much heart and like he can barely contain his own passion and energy which is very sweet! I loved so many of his moments with the boys because they’re such an affectionate bunch of puppies and he’s the worst of the lot! 😂 he goes from pouty to teasing to intense musician to teary and it’s difficult not to be totally endeared by him. I could watch him sing Now or Never on repeat, the kid’s infectious as hell. Personal favourite moment aside from the whole “chemistry” scene which is hands down the best moment of the season is the scene in Julie’s room with the memory box.

Reggie. I mean they’re just all loveable so it feels silly to just repeat myself but he’s very endearing too. I mean the whole comedic role has to go to someone but those moments he has with the Molinas are really very sweet and makes me wonder what his history is. He’s the one the other boys are constantly hugging and making smile and joking with him. It’s like the other boys adopted him! I mean who doesn’t love when he skips his way over the stage to sing with Luke, dude needs no encouragement at all! It’s all endlessly sweet. Personal favourite moment, again, aside from “girls, am I right?” which steals the show has to be any time he and Alex interact and Alex just goes “ok” for the hundredth time and rolls his eyes 😂

Julie. Oh she’s a breath of fresh air. Can we take a moment to consider how beautiful she is? Her hair! Her voice, her smile, her personality... they pitched her so perfectly that she will be endlessly relatable to so many girls watching her but also, she’s insanely talented. Her voice in Wake Up is stunning - what a gorgeous song that is! I really love her emotional moments especially the stuff with Luke about his family and the way Luke and Julie have been framed... it’s SO REFRESHING that that “interesting little relationship” they have - in a show aimed at younger folks - is focused on mutual passions, friendship and support before romance. It’s so nice to see and it works so well. She’s so funny too. They can’t make another season without giving her endless moments with the boys in various configurations and comedic moments because they all sell is perfectly and their chemistry is spot on. Personal favourite moment has to be either her finding the boys in her room, her scene with Luke in the school hallway or Great, that performance is stunning.

As for the other characters, I didn’t want to ramble on. I could do without Carrie being that proper stereotypical mean girl (can we just remove that from existence) and some of her scenes were kinda dated like we’ve progressed beyond that stuff now 😂 but as cheesy as hell as Dirty Candy is, they’re still tight pop songs and I’d watch Alex dance all bloody day so she can carry on! The actress is a killer performer though. Same with Nick! He’s a little stereotypical but he’s sweet and his role in s2 would be way more interesting. Flynn is an angel and I loved her whole “when you commit to something you really commit” moment and when she tries to talk to the boys. Caleb is just delicious and an old school musical theatre villain. He’s wonderful and played pitch perfect. Willie is just a total softie. The choice to stick him in 90s crop tops, cherry print socks and high tops and to have that gentle understated romance was a total winner and it’ll mean so damn much to young people watching because of how casual it is and how sweet it all is.

So yeah! I hope that’s what you were after. What a proper cheesy charming but genuinely loveable show it is. 2020 is just a hellish year and I don’t give a shit what age the show is aimed at... it’s fun and light hearted and sweet and just the right side of cheesy that it often feels so gently authentic and the characters are instantly loveable!