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#wow the 2019 version is pretty brutal
arlenianchronicles · 3 years
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Throwback ... well, not a Thursday loll But here’s a redraw! (April 11, 2021 vs. 2018 and 2019)
Aurelydan reunites with Talevar in the dungeons of the emperor’s palace. As you can see, it’s not a really pleasant reunion ^^;;; It was high time I redrew this scene though; I’ve been meaning to do it for a while, but I could never find a good composition that wasn’t a direct copy of the old paintings.
And then I thought, why not try my inky style? So here it is! I’m really liking Aury’s poofy hair hahaa
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My Top 20 Films of 2019 - Part Two
I don’t think I’ve had a year where my top ten jostled and shifted as much as this one did - these really are the best of the best and my personal favourites of 2019.
10. Toy Story 4
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I think we can all agree that Toy Story 3 was a pretty much perfect conclusion to a perfect trilogy right? About as close as is likely to get, I’m sure. I shared the same trepidation when part four was announced, especially after some underwhelming sequels like Finding Dory and Cars 3 (though I do have a lot of time for Monsters University and Incredibles 2). So maybe it’s because the odds were so stacked against this being good but I thought it was wonderful. A truly existential nightmare of an epilogue that does away with Andy (and mostly kids altogether) to focus on the dreams and desires of the toys themselves - separate from their ‘duties’ as playthings to biological Gods. What is their purpose in life without an owner? Can they be their own person and carve their own path? In the case of breakout new character Forky (Tony Hale), what IS life? Big big questions for a cash grab kids films huh?
The animation is somehow yet another huge leap forward (that opening rainstorm!), Bo Peep’s return is excellently pitched and the series tradition of being unnervingly horrifying is back as well thanks to those creepy ventriloquist dolls! Keanu Reeves continues his ‘Keanuassaince‘ as the hilarious Duke Caboom and this time, hopefully, the ending at least feels finite. This series means so much to me: I think the first movie is possibly the tightest, most perfect script ever written, the third is one of my favourites of the decade and growing up with the franchise (I was 9 when the first came out, 13 for part two, 24 for part three and now 32 for this one), these characters are like old friends so of course it was great to see them again. All this film had to do was be good enough to justify its existence and while there are certainly those out there that don’t believe this one managed it, I think the fact that it went as far as it did showed that Pixar are still capable of pushing boundaries and exploring infinity and beyond when they really put their minds to it.
9. The Nightingale
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Hoo boy. Already controversial with talk of mass walkouts (I witnessed a few when this screened at Sundance London), it’s not hard to see why but easy to understand. Jennifer Kent (The Babadook) is a truly fearless filmmaker following up her acclaimed suburban horror movie come grief allegory with a period revenge tale set in the Tasmanian wilderness during British colonial rule in the early 1800s. It’s rare to see the British depicted with the monstrous brutality for which they were known in the distant colonies and this unflinching drama sorely needed an Australian voice behind the camera to do it justice.
The film is front loaded with some genuinely upsetting, nasty scenes of cruel violence but its uncensored brutality and the almost casual nature of its depiction is entirely the point - this was normalised behaviour over there and by treating it so matter of factly, it doesn’t slip into gratuitous ‘movie violence’. It is what it is. And what it is is hard to watch. If anything, as Kent has often stated, it’s still toned down from the actual atrocities that occurred so it’s a delicate balance that I think Kent more than understands. Quoting from an excellent Vanity Fair interview she did about how she directs, Kent said “I think audiences have become very anaesthetised to violence on screen and it’s something I find disturbing... People say ‘these scenes are so shocking and disturbing’. Of course they are. We need to feel that. When we become so removed from violence on screen, this is a very irresponsible thing. So I wanted to put us right within the frame with that person experiencing the loss of everything they hold dear”. 
Aisling Franciosi is next level here as a woman who has her whole life torn from her, leaving her as nothing but a raging husk out for vengeance. It would be so easy to fall into odd couple tropes once she teams up with reluctant native tracker Billy (an equally impressive newcomer, Baykali Ganambarr) but the film continues to stay true to the harsh racism of the era, unafraid to depict our heroine - our point of sympathy - as horrendously racist towards her own ally. Their partnership is not easily solidified but that makes it all the stronger when they star to trust each other. Sam Claflin is also career best here, weaponizing his usual charm into dangerous menace and even after cementing himself as the year’s most evil villain, he can still draw out the humanity in such a broken and corrupt man.
Gorgeously shot in the Academy ratio, the forest landscape here is oppressive and claustrophobic. Kent also steps back into her horror roots with some mesmerising, skin crawling dream scenes that amplify the woozy nightmarish tone and overbearing sense of dread. Once seen, never forgotten, this is not going to be everyone’s cup of tea (and that’s fine) but when cinema can affect you on such a visceral level and be this powerful, reflective and honest about our own past, it’s hard to ignore. Stunning.
8. The Irishman
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Aka Martin Scorsese’s magnum opus, I did manage to see this one in a cinema before the Netflix drop and absolutely loved it. I’ve watched 85 minute long movies that felt longer than this - Marty’s mastery of pace, energy and knowing when to let things play out in agonising detail is second to none. This epic tale of  the life of Frank Sheeran (Robert De Niro) really is the cinematic equivalent of having your cake and eating it too, allowing Scorsese to run through a greatest hits victory lap of mobster set pieces, alpha male arguments, a decades spanning life story and one (last?) truly great Joe Pesci performance before simply letting the story... continue... to a natural, depressing and tragic ending, reflecting the emptiness of a life built on violence and crime.
For a film this long, it’s impressive how much the smallest details make the biggest impacts. A stammering phone call from a man emotionally incapable of offering any sort of condolence. The cold refusal of forgiveness from a once loving daughter. A simple mirroring of a bowl of cereal or a door left slightly ajar. These are the parts of life that haunt us all and it’s what we notice the most in a deliberately lengthy biopic that shows how much these things matter when everything else is said and done. The violence explodes in sudden, sharp bursts, often capping off unbearably tense sequences filled with the everyday (a car ride, a conversation about fish, ice cream...) and this contrast between the whizz bang of classic Scorsese and the contemplative nature of Silence era Scorsese is what makes this film feel like such an accomplishment. De Niro is FINALLY back but it’s the memorably against type role for Pesci and an invigorated Al Pacino who steals this one, along with a roll call of fantastic cameos, with perhaps the most screentime given to the wonderfully petty Stephen Graham as Tony Pro, not to mention Anna Paquin’s near silent performance which says more than possibly anyone else. 
Yes, the CG de-aging is misguided at best, distracting at worst (I never really knew how old anyone was meant to be at any given time... which is kinda a problem) but like how you get used to it really quickly when it’s used well, here I kinda got past it being bad in an equally fast amount of time and just went with it. Would it have been a different beast had they cast younger actors to play them in the past? Undoubtedly. But if this gives us over three hours of Hollywood’s finest giving it their all for the last real time together, then that’s a compromise I can live with.
7. The Last Black Man in San Francisco
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Wow. I was in love with this film from the moving first trailer but then the film itself surpassed all expectations. This is a true indie film success story, with lead actor Jimmie Fails developing the idea with director Joe Talbot for years before Kickstarting a proof of concept and eventually getting into Sundance with short film American Paradise, which led to the backing of this debut feature through Plan B and A24. The deeply personal and poetic drama follows a fictionalised version of Jimmie, trying to buy back an old Victorian town house he claims was built by his grandfather, in an act of rebellion against the increasingly gentrified San Francisco that both he and director Talbot call home.
The film is many things - a story of male friendship, of solidarity within our community, of how our cities can change right from underneath us - it moves to the beat of it’s own drum, with painterly cinematography full of gorgeous autumnal colours and my favourite score of the year from Emile Mosseri. The performances, mostly by newcomers or locals outside of brilliant turns from Jonathan Majors, Danny Glover and Thora Birch, are wonderful and the whole thing is such a beautiful love letter to the city that it makes you ache for a strong sense of place in your own home, even if your relationship with it is fractured or strained. As Jimmie says, “you’re not allowed to hate it unless you love it”.
For me, last year’s Blindspotting (my favourite film of the year) tackled gentrification within California more succinctly but this much more lyrical piece of work ebbs and flows through a number of themes like identity, family, memory and time. It’s a big film living inside a small, personal one and it is not to be overlooked.
6. Little Women
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I had neither read the book nor seen any prior adaptation of Louisa May Alcott’s 1868 novel so to me, this is by default the definitive telling of this story. If from what I hear, the non linear structure is Greta Gerwig’s addition, then it’s a total slam dunk. It works so well in breaking up the narrative and by jumping from past to present, her screenplay highlights certain moments and decisions with a palpable sense of irony, emotional weight or knowing wink. Getting to see a statement made with sincere conviction and then paid off within seconds, can be both a joy and a surefire recipe for tears. Whether it’s the devastating contrast between scenes centred around Beth’s illness or the juxtaposition of character’s attitudes to one another, it’s a massive triumph. Watching Amy angrily tell Laurie how she’s been in love with him all her life and then cutting back to her childishly making a plaster cast of her foot for him (’to remind him how small her feet are’) is so funny. 
Gerwig and her impeccable cast bring an electric energy to the period setting, capturing the big, messy realities of family life with a mix of overwhelming cross-chatter and the smallest of intimate gestures. It’s a testament to the film that every sister feels fully serviced and represented, from Beth’s quiet strength to Amy’s unforgivable sibling rivalry. Chris Cooper’s turn as a stoic man suffering almost imperceptible grief is a personal heartbreaking favourite. 
The book’s (I’m assuming) most sweeping romantic statements are wonderfully delivered, full of urgent passion and relatable heartache, from Marmie’s (Laura Dern) “I’m angry nearly every day of my life” moment to Jo’s (Saoirse Ronan) painful defiance of feminine attributes not being enough to cure her loneliness. The sheer amount of heart and warmth in this is just remarkable and I can easily see it being a film I return to again and again.
5. Booksmart
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2019 has been a banner year for female directors, making their exclusion from some of the early awards conversations all the more damning. From this list alone, we have Lulu Wang, Jennifer Kent and Greta Gerwig. Not to mention Lorene Scafaria (Hustlers), Melina Matsoukas (Queen & Slim), Jocelyn DeBoer & Dawn Luebbe (Greener Grass), Sophie Hyde (Animals) and Rose Glass (Saint Maud - watch out for THIS one in 2020, it’s brilliant). Perhaps the most natural transition from in front of to behind the camera has been made by Olivia Wilde, who has created a borderline perfect teen comedy that can make you laugh till you cry, cry till you laugh and everything in-between.
Subverting the (usually male focused) ‘one last party before college’ tropes that fuel the likes of Superbad and it’s many inferior imitators, Booksmart follows two overachievers who, rather than go on a coming of age journey to get some booze or get laid, simply want to indulge in an insane night of teenage freedom after realising that all of the ‘cool kids’ who they assumed were dropouts, also managed to get a place in all of the big universities. It’s a subtly clever remix of an old favourite from the get go but the committed performances from Kaitlyn Dever and Beanie Feldstein put you firmly in their shoes for the whole ride. 
It’s a genuine blast, with big laughs and a bigger heart, portraying a supportive female friendship that doesn’t rely on hokey contrivances to tear them apart, meaning that when certain repressed feelings do come to the surface, the fallout is heartbreaking. As I stated in a twitter rave after first seeing it back in May, every single character, no matter how much they might appear to be simply representing a stock role or genre trope, gets their moment to be humanised. This is an impeccably cast ensemble of young unknowns who constantly surprise and the script is a marvel - a watertight structure without a beat out of place, callbacks and payoffs to throwaway gags circle back to be hugely important and most of all, the approach taken to sexuality and representation feels so natural. I really think it is destined to be looked back on and represent 2019 the way Heathers does ‘88, Clueless ‘95 or Easy A 2010. A new high benchmark for crowd pleasing, indie comedy - teen or otherwise.
4. Ad Astra
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Brad Pitt is one of my favourite actors and one who, despite still being a huge A-lister even after 30 years in the game, never seems to get enough credit for the choices he makes, the movies he stars in and also the range of stories he helps produce through his company, Plan B. 2019 was something of a comeback year for Pitt as an actor with the insanely measured and controlled lead performance seen here in Ad Astra and the more charismatic and chaotic supporting role in Once Upon a Time... in Hollywood.
I love space movies, especially those that are more about broken people blasting themselves into the unknown to search for answers within themselves... which manages to sum up a lot of recent output in this weirdly specific sub-genre. First Man was a devastating look at grief characterised by a man who would rather go to a desolate rock than have to confront what he lost, all while being packaged as a heroic biopic with a stunning score. Gravity and The Martian both find their protagonists forced to rely on their own cunning and ingenuity to survive and Interstellar looked at the lengths we go to for those we love left behind. Smaller, arty character studies like High Life or Moon are also astounding. All of this is to say that Ad Astra takes these concepts and runs with them, challenging Pitt to cross the solar system to talk some sense into his long thought dead father (Tommy Lee Jones). But within all the ‘sad dad’ stuff, there’s another film in here just daring you to try and second guess it - one that kicks things off with a terrifying free fall from space, gives us a Mad Max style buggy chase on the moon and sidesteps into horror for one particular set-piece involving a rabid baboon in zero G! It manages to feel so completely nuts, so episodic in structure, that I understand why a lot of people were turned off - feeling that the overall film was too scattershot to land the drama or too pondering to have any fun with. I get the criticisms but for me, both elements worked in tandem, propelling Pitt on this (assumed) one way journey at a crazy pace whilst sitting back and languishing in the ‘bigger themes’ more associated with a Malik or Kubrick film. Something that Pitt can sell me on in his sleep by this point.
I loved the visuals from cinematographer Hoyte van Hoytema (Interstellar), loved the imagination and flair of the script from director James Gray and Ethan Gross and loved the score by Max Richter (with Lorne Balfe and Nils Frahm) but most of all, loved Pitt, proving that sometimes a lot less, is a lot more. The sting of hearing the one thing he surely knew (but hoped he wouldn’t) be destined to hear from his absent father, acted almost entirely in his eyes during a third act confrontation, summed up the movie’s brilliance for me - so much so that I can forgive some of the more outlandish ‘Mr Hyde’ moments of this thing’s alter ego... like, say, riding a piece of damaged hull like a surfboard through a meteor debris field! 
3. Avengers: Endgame
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It’s no secret that I think Marvel, the MCU in particular, have been going from strength to strength in recent years, slowly but surely taking bigger risks with filmmakers (the bonkers Taika Waititi, the indie darlings of Ryan Coogler, Cate Shortland and Chloe Zhao) whilst also carefully crafting an entertaining, interconnected universe of characters and stories. But what is the point of building up any movie ‘universe’ if you’re not going to pay it off and Endgame is perhaps the strongest conclusion to eleven years of movie sequels that fans could have possibly hoped for.
Going into this thing, the hype was off the charts (and for good reason, with it now being the highest grossing film of all time) but I remember souring on the first entry of this two-parter, Infinity War, during the time between initial release and Endgame’s premiere. That film had a game-changing climax, killing off half the heroes (and indeed the universe’s population) and letting the credits role on the villain having achieved his ultimate goal. It was daring, especially for a mammoth summer blockbuster but obviously, we all knew the deaths would never be permanent, especially with so many already-announced sequels for now ‘dusted’ characters. However, it wasn’t just the feeling that everything would inevitably be alright in the end. For me, the characters themselves felt hugely under-serviced, with arguably the franchise’s main goody two shoes Captain America being little more than a beardy bloke who showed up to fight a little bit. Basically what I’m getting at is that I felt Endgame, perhaps emboldened by the giant runtime, managed to not only address these character slights but ALSO managed to deliver the most action packed, comic booky, ‘bashing your toys together’ final fight as well.
It’s a film of three parts, each pretty much broken up into one hour sections. There’s the genuinely new and interesting initial section following our heroes dealing with the fact that they lost... and it stuck. Thor angrily kills Thanos within the first fifteen minutes but it’s a meaningless action by this point - empty revenge. Cutting to five years later, we get to see how defeat has affected them, for better or worse, trying to come to terms with grief and acceptance. Cap tries to help the everyman, Black Widow is out leading an intergalactic mop up squad and Thor is wallowing in a depressive black hole. It’s a shocking and vibrantly compelling deconstruction of the whole superhero thing and it gives the actors some real meat to chew on, especially Robert Downy Jr here who goes from being utterly broken to fighting within himself to do the right thing despite now having a daughter he doesn’t want to lose too. Part two is the trip down memory lane, fan service-y time heist which is possibly the most fun section of any of these movies, paying tribute to the franchise’s past whilst teetering on a knife’s edge trying to pull off a genuine ‘mission impossible’. And then it explodes into the extended finale which pays everyone off, demonstrates some brilliantly imaginative action and sticks the landing better than it had any right to. In a year which saw the ending of a handful of massive geek properties, from Game of Thrones to Star Wars, it’s a miracle even one of them got it right at all. That Endgame managed to get it SO right is an extraordinary accomplishment and if anything, I think Marvel may have shot themselves in the foot as it’s hard to imagine anything they can give us in the future having the intense emotional weight and momentum of this huge finale.
2. Knives Out
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Rian Johnson has been having a ball leaping into genre sandpits and stirring shit up, from his teen spin on noir in Brick to his quirky con man caper with The Brothers Bloom, his time travel thriller Looper and even his approach to the Star Wars mythos in The Last Jedi. Turning his attention to the relatively dead ‘whodunnit’ genre, Knives Out is a perfect example of how to celebrate everything that excites you about a genre whilst weaponizing it’s tropes against your audience’s baggage and preconceptions.
An impeccable cast have the time of their lives here, revelling in playing self obsessed narcissists who scramble to punt the blame around when the family’s patriarch, a successful crime novelist (Christopher Plummer), winds up dead. Of course there’s something fishy going on so Daniel Craig’s brilliantly dry southern detective Benoit Blanc is called in to investigate.There are plenty of standouts here, from Don Johnson’s ignorant alpha wannabe Richard to Michael Shannon’s ferocious eldest son Walt to Chris Evan’s sweater wearing jock Ransom, full of unchecked, white privilege swagger. But the surprise was the wholly sympathetic, meek, vomit prone Marta, played brilliantly by Ana de Armas, cast against her usual type of sultry bombshell (Knock Knock, Blade Runner 2049), to spearhead the biggest shake up of the genre conventions. To go into more detail would begin to tread into spoiler territory but by flipping the audience’s engagement with the detective, we’re suddenly on the receiving end of the scrutiny and the tension derived from this switcheroo is genius and opens up the second act of the story immensely.
The whole thing is so lovingly crafted and the script is one of the tightest I’ve seen in years. The amount of setup and payoff here is staggering and never not hugely satisfying, especially as it heads into it’s final stretch. It really gives you some hope that you could have such a dense, plotty, character driven idea for a story and that it could survive the transition from page to screen intact and for the finished product to work as well as it does. I really hope Johnson returns to tell another Benoit Blanc mystery and judging by the roaring box office success (currently over $200 million worldwide for a non IP original), I certainly believe he will.
1. Eighth Grade
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My film of the year is another example of the power of cinema to put us in other people’s shoes and to discover the traits, fears, joys and insecurities that we all share irregardless. It may shock you to learn this but I have never been a 13 year old teenage girl trying to get by in the modern world of social media peer pressure and ‘influencer’ culture whilst crippled with personal anxiety. My school days almost literally could not have looked more different than this (less Instagram, more POGs) and yet, this is a film about struggling with oneself, with loneliness, with wanting more but not knowing how to get it without changing yourself and the careless way we treat those with our best interests at heart in our selfish attempt to impress peers and fit in. That is understandable. That is universal. And as I’m sure I’ve said a bunch of times in this list, movies that present the most specific worldview whilst tapping into universal themes are the ones that inevitably resonate the most.
Youtuber and comedian Bo Burnham has crafted an impeccable debut feature, somehow portraying a generation of teens at least a couple of generations below his own, with such laser focused insight and intimate detail. It’s no accident that this film has often been called a sort of social-horror, with cringe levels off the charts and recognisable trappings of anxiety and depression in every frame. The film’s style services this feeling at every turn, from it’s long takes and nauseous handheld camerawork to the sensory overload in it’s score (take a bow Anna Meredith) and the naturalistic performances from all involved. Burnham struck gold when he found Elsie Fisher, delivering the most painful and effortlessly real portrayal of a tweenager in crisis as Kayla. The way she glances around skittishly, the way she is completely lost in her phone, the way she talks, even the way she breathes all feeds into the illusion - the film is oftentimes less a studio style teen comedy and more a fly on the wall documentary. 
This is a film that could have coasted on being a distant, social media based cousin to more standard fare like Sex Drive or Superbad or even Easy A but it goes much deeper, unafraid to let you lower your guard and suddenly hit you with the most terrifying scene of casually attempted sexual aggression or let you watch this pure, kindhearted girl falter and question herself in ways she shouldn’t even have to worry about. And at it’s core, there is another beautiful father/daughter relationship, with Josh Hamilton stuck on the outside looking in, desperate to help Kayla with every fibre of his being but knowing there are certain things she has to figure out for herself. It absolutely had me and their scene around a backyard campfire is one of the year’s most touching.
This is a truly remarkable film that I think everyone should seek out but I’m especially excited for all the actual teenage girls who will get to watch this and feel seen. This isn’t about the popular kid, it isn’t about the dork who hangs out with his or her own band of misfits. This is about the true loner, that person trying everything to get noticed and still ending up invisible, that person trying to connect through the most disconnected means there is - the internet - and everything that comes with it. Learning that the version of yourself you ‘portray’ on a Youtube channel may act like they have all the answers but if you’re kidding yourself then how do you grow? 
When I saw this in the cinema, I watched a mother take her seat with her two daughters, aged probably at around nine and twelve. Possibly a touch young for this, I thought, and I admit I cringed a bit on their behalf during some very adult trailers but in the end, I’m glad their mum decided they were mature enough to see this because a) they had a total blast and b) life simply IS R rated for the most part, especially during our school years, and those girls being able to see someone like Kayla have her story told on the big screen felt like a huge win. I honestly can’t wait to see what Burnham or Fisher decide to do next. 2019 has absolutely been their year... and it’s been a hell of a year.
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doomedandstoned · 4 years
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Jupiterian Return With Hulking 2nd LP, ‘Protosapien’
~By Clem Helvete~
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Photographs by Paul Verhagen and William van der Voort
JUPITERIAN is back with a vengeance! 'Protosapien' (2020) is the Brazilian band’s second album on Transcending Obscurity Records, following the monumental Terraforming released in 2017.
Let’s just wind back the clock for a minute. I discovered Jupiterian with Terraforming, the band’s second full-length and the album that cemented its identity. The gorgeous album cover by Cauê Piloto instantly grabbed my attention and the music did the rest. The balance of heaviness, melodies, and the uniqueness of Jupiterian’s sound won me over from the first listen.
The album was lauded by the press and earned a well-deserved spot in many “albums of the year” lists. Terraforming was one of my top three albums in 2017 and has remained one the records I’ve listened to the most for the past two-and-a-half years. Suffice it to say that Protosapien was very much awaited and that the expectations were high.
Protosapien was announced in 2019 at which time the album cover was revealed. The painting by Mariusz Lewandowski gave a pretty clear idea of what the album would be like. The artwork is a drastic departure from the hazy and dreamlike atmosphere of Terraforming. The web covered skull set against a stark black background set the tone for a much darker album and the first track available on the Transcending Obscurity Records sampler absolutely confirmed this. So, buckle up and let the otherworldly entity that is Jupiterian take you on a dreary and bleak journey.
The ominous intro sets the mood right away and leads into "Mere Human." The track is a five-minute long demonstration of what Jupiterian has in store for the rest of the album, and boy does it make you want to hear more. The riffs hit like a ton of bricks and are laid over pounding drums and throbbing bass. The vocals are as raspy and cavernous as could be, like a heavy stone being dragged on the ground. Although, I think that the addition of chanting might have heightened the esoteric feeling of the album. Not only does "Mere Human" predict a heavier and more brutal album, but also more complex and richer tracks.
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If you are already familiar with Terraforming, the first thing that stands out is the production. The sound is a lot tighter and punchier, not quite as “earthy” so to speak. While Terraforming's guitar tone and mixing gave it its hazy atmosphere, Protosapien is definitely not going for this. The guitars remain gritty and the tone serves the tracks admirably, but the overall mix is tighter and you feel like you’re getting punched in the face every time the kick drum hits.
It is evident that this was a deliberate choice from the band, who wanted a more direct and brutal approach with this new album. Jupiterian manages to retain the melodic aspect that makes the band’s music interesting and worth listening to over and over again but didn’t attempt to write the same album twice. The band weaves doom, death metal, and sludge in an extremely skilled manner and is not afraid to explore new territory.
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While tracks like "Voidborn," "Capricorn," and "Earthling Bloodline" still deliver when it comes to the crushing chugs and eerie tunes that have become Jupiterian’s signature, the band continues its venture into chaotic dissonant black metal. Imagine Deathspell Omega on quaaludes and you’ll get the gist of it. This adds a feeling of insanity and desperation to the music, making Protosapien much darker than its predecessor.
Jupiterian is very much in control of where the album is going, everything is air-tight, the tracks are lean and expertly crafted, and the whole album feels like it has been entirely thought-through. We weren’t expecting any less from the band and the Brazilians didn’t disappoint.
Sitting right in the middle of the album, "Capricorn" builds up the tension until the growling bass conjures Hell’s fury. Jupiterian goes back to more familiar territories with "Starless," which is the most Terraforming sounding track of the album in my opinion, only to establish once more that they are kings in their domain, if that ever needed clarification. "Earthling Bloodline," the final track of the album and the heaviest, alternates between agonizingly slow chords and mid-tempo riffs, pounding the listener to the ground.
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Was Protosapien worth the wait? It absolutely was. Jupiterian has matured and perfected its sound without shying away from pushing the envelope. The album is definitely darker and heavier than its predecessor, which means that the two albums work admirably together and Protosapien never feels like a rehashed recipe. This is a masterful work of heaviness and a powerful album.
Protosapien is 100% Album Of The Year material in my book. I have already listened to it many times and each listen has brought more substance to the album. The original “wow’ factor didn’t dwindle with time; quite the contrary. With every spin, the album becomes richer and more interesting.
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Protosapien is set to be released in September and pre-orders are already available. As per usual, Transcending Obscurity Records pulled out all the stops when it came to the physical release. Boxsets, compact disc, cassette, and three different versions of the LP with sandalwood fragrance are available and it looks amazing.
Mariusz Lewandowski’s artwork just by itself would justify getting a physical copy, so this is an absolute no-brainer. Go straight to Jupiterian’s Bandcamp page and get your copy before they sell out -- I know I did.
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birdlord · 4 years
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Everything I Watched in 2018
I neglected to write this list up this time last year, so I’m catching up! 2019 is soon to come.  Every Movie I Watched in 2018
The number in parentheses is year of release, asterisks denote a re-watch, and titles in bold are my favourite first watches of the year. 
01 So I Married an Axe Murderer (93)* possibly the most early/mid-90s film ever made. Centre parted hair, slam poetry, pre-tech boom San Francisco, Steven Wright cameo?!
02 The Florida Project (17) first theatre movie of the year came early!
03 The Long Goodbye (75)
04 Call Me by Your Name (17) I and some friends made an effort to see movies we thought might be oscar-nominated this year, so there’s a few of those coming up. 
05 LA Story (91)* a forever rewatch
06 Personal Shopper (17) Feels like there’s a thin veil between K Stew and the characters she chooses.
07 I, Tonya (17)
08 Comfort and Joy (84) 80s Glasgow!
09 Faces, Places (17) made me want to pick up a camera again
10 A Futile and Stupid Gesture (18)
11 Creed (15) not for me. 
12 Black Panther (18)* I found this lost a lot of its lustre the second time around. 
13 Ghost (90)
14 Youngblood (86) Rob Lowe and Patrick Swayze hockey movie filmed in 80s Toronto? Sign me up!
15 The Living Daylights (87)* basically sometimes I want to see a Bond film, and really any of them will do. 
16 Brigsby Bear (17)
17 The Ice Storm (97) 
18 Disclosure (94) strong competition for Most 90s Movie, this time set in a Seattle CD-ROM company. One of those movies I remember staring at the cover of, in the movie rental place. 
19 Saturday Night Fever (77)*
20 Barry Lyndon (75) God, the look, the costumes, the performances! This killed me dead.
21 Fried Green Tomatoes (91)* Another forever rewatch!
22 Howard’s End (92)* rewatch prompted by watching the new series version. 
23 Sense & Sensibility (95)* keep those costume dramas coming...
24 The Lord of the Rings: Fellowship of the Ring (01)*
25 The Lord of the Rings: The Two Towers (02)* 
26 Breakfast at Tiffany’s (61)*
27 Paterson (16)
28 Three Kings (99)*
29 The Talented Mr Ripley (99)* 99 was a good film year...I’ll go to this version of Italy anytime. 
30 The Equalizer (14)
31 Paddington (14)
32 Paul (11) the initial charm doesn’t carry the movie through til the end.
33 The Virgin Suicides (99)*
34 Friday the 13th (80)
35 Sea of Love (89)
36 Won’t You Be My Neighbor? (18) a great opportunity to shed some tears in a movie theatre.
37 Star Wars: The Last Jedi (17)*
38 Wild (14)
39 Housekeeping (87) love me a Bill Forsyth, as you can see. 
40 Predator (87)* if it bleeds, etc
41 Close Encounters of the Third Kind (77)*
42 Fever Pitch (05) the US remake...
43 Fever Pitch (97) ...the UK original 
44 Bridget Jones’ Baby (16)
45 Stand by Me (86)*
46 Three Identical Strangers (18) 
47 Mission Impossible: Fallout (18)
48 Mission Impossible: Ghost Protocol (11)*
49 Election (99)*
50 The Killing Ground (17) utter brutality in the Aussie bushland
51 Eyes Wide Shut (99) never saw this at the time, and thought Nicole Kidman’s perspective was more important within the film but GUESS WHAT, IT ISN’T
52 Repulsion (65)
53 Crazy Rich Asians (18)
54 Halloween (78)* the start of Spooker Season
55 A Star is Born (18)
56 The Hunger (83)
57 Annihilation (17)
58 Scream (99)*
59 Halloween H20: 20 Years Later (98) this was...terrible
60 Halloween (18)
61 Deep Red (75) one of the better Argentos, imo, but no Tenebrae
62 Dead Ringers (88)
63 Rocky Horror Picture Show (75)*
64 Silence of the Lambs (91)*
65 Nosferatu (22)
66 The Italian Job (69)
67 Harry Potter and the Philosopher’s Stone (01)*
68 Harry Potter and The Chamber of Secrets (02)*69 Harry Potter and the Prisoner of Azkaban (04)*
70 Gangs of New York (02)* Wow, I hated this! If I never see sweaty Leonardo DiCaprio again, it’ll be too soon. 
71 Shirkers (18)
72 Terminator 2 (91)*
73 Little Women (94)*
74 The Ballad of Buster Scruggs (18)
75 Life Itself (18) this movie has left my mind ENTIRELY, wow did it even happen?
76 National Lampoon’s Christmas Vacation (89)*
77 Home Alone (90)*
78 Gremlins (84)* turns out I’d forgotten more of this than I remembered??
79 The Shop Around the Corner (40)
80 You’ve Got Mail (98)*
81 Mr Smith Goes to Washington (39)
82 Widows (18)
83 Roma (18) I did see this in theatre, so the surround-sound experience was in full effect. 
84 Ghost Stories (17)
85 200 Cigarettes (99)
DOCUMENTARY:FICTION - 3:82
THEATRE:HOME - 11:74
I had no idea I’d watched so many movies from 1999 this year! It was certainly not done on purpose, but that year had some great movies. Spooker Season was a particularly strong one this year, too, with ten horror/spooky movies over the course of October. It’s always interesting to me to see how many comfort viewings vs more challenging fare that I manage to watch in a given year (probably correlated to how many times I was sick and/or had a rough work day). 
Every TV Series I Watched in 2019
01 The Crown S2 - the difficulties of royal marriage are a strong theme in this season, but there’s also some great sister-sister material between Elizabeth and Margaret. 
02 Lady Dynamite S2 - too weird to live, I guess?
03 High Maintenance S2 - this is the second HBO season, and the first one that really tries to grapple with high-level world events, in this case Trump’s election, spoken about as if it was a natural disaster.
04 Queer Eye S1, S2 - I’d never seen the original series, so this was my first exposure to the concept. It aims for pathos, but you have to accept a pretty rosy world to get into it. Easier to enjoy before any of the boys had book deals/got Milkshake Duck’d.
05 Love S3 - still watching for Bertie, I love her.
06 Collateral - thorny British political police procedural, ultimately pretty forgettable, barring Carey Mulligan’s performance. 
07 Alias Grace - the Atwood adaptation that people *weren’t* talking about. It’s great, though!
08 Atlanta S2: Robbin Season - Atlanta got weirder, more idiosyncratic, and even better in its second season. 09 Barry S1 - Barry got a lot of plaudits this year, and while I really liked the cast, and the plot was engrossing, something didn’t stick for me, and ultimately I didn’t watch the second season. 
10 Howard’s End - it is a truth universally acknowledged that most books are better adapted as a miniseries than a single movie. Not that I hate the ‘92 movie, but this gets deeper into the class relations than it ever could. Plus: TIBBY!!
11 Killing Eve S1 - the series that hackneyed “smart, stylish and sexy” critic descriptions were made for.
12 Detroiters S2 - pouring one out for my fave pals, who never got a chance to make another season of this little darling (though there were a couple of episodes in this season that didn’t do it for me). 
13 Salt, Fat, Acid, Heat - perhaps the only adaptation of a cookbook that I’ve ever seen, and certainly one of the best food shows ever. 
14 Big Mouth S2 - More of the same, so if you could hack it in the first season, then keep it up!
15 Bodyguard - another in the sexy/dark/procedural vein, with bonus Scotsman from Game of Thrones.
16 Utopia/Dreamland S1-S3 - an Australian comedy series about a government infrastructure department, which has apparently spawned real such departments in the country, even though it doesn’t come off all that well. The first title is the Aussie one, it’s known as Dreamland everywhere else. 
17 Baroness Von Sketch S3 - Canadian series that I actually watch are rare as hen’s teeth, so I was delighted to find a woman-centric sketch show that has kept me laughing. Plus, sometimes I see my neighbourhood? That’s fun!
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Child’s Play (2019): Chucky Come Lately, The New Kid in Town
We’re coming up on a month since the release of Orion Pictures’ Child’s Play remake. In the lead up to the polarizing release, there were two very different teams drawn up: you were either Team Good Guy, or Team Buddi. If you were the former, it was thought you were an elitist, unable to see past your love for the original and too closed minded to admit you were even a little curious as to how the new movie would turn out. If you wore the latter team’s jersey, you were part of what is wrong with horror today, ready to gobble up corporate studio schlock even if it means trampling all over the original. At a time when a remake is announced every other week, I want to discuss why it’s okay to root for the home town hero, while also being curious about what the rookie has to offer.
Child’s Play was originally released in 1988, having been written and directed by Tom Holland from a story by Don Mancini, produced by David Kirschner and distributed by MGM. The film was a hit, drawing enough at the box office to spawn six sequels, and the cult following was immediately under the spell of the pint sized, Voodoo practicing antagonist, Charles Lee Ray. I recently turned 30, and it wasn’t until I was in my early teens that I realized the original trilogy was called Child’s Play and not Chucky, as I’d always referred to the movies. Brad Dourif plays Chicago serial killer Charles Lee Ray, The Lakeshore Strangler. After he’s chased into a toy store and fatally wounded by Detective Mike Norris (Chris Sarandon), Chucky transfers his soul into the body of a Good Guy Doll. The rest of the movie follows Chucky and the first person he reveals his identity to, a six year old boy named Andy Barclay (Alex Vincent), as Chucky murders his way through babysitters, old accomplices and Voodoo mentors! All the while, Chucky preys on Andy’s innocence, telling him they’re “Friends til the end!��� simply to make it easier for him to transfer his soul into Andy’s body.
This set up was, and still is, perfect! For much of the movie, Chucky is a stoic rubber doll, resembling one of the Cabbage Patch Dolls that were so popular in the 1980s. It’s clear to see how excited Andy is when he gets the doll as a birthday present, and you feel genuine fear for the kid knowing there’s the soul of a serial killer trapped inside his new best friend! I would give anything to travel back in time to sit in the theater on opening night and experience the moment Chucky finally reveals his true nature to Andy’s Mom! What may seem silly to us now must have made for an awesome group experience in that theater, especially considering the amazing animatronics and Dourif’s fantastic voice over work, his animalistic aggression striking fear into children for years after.
For all the praise we can give Chucky and the lore his movies built up, they did become somewhat formulaic, but Chucky and pals had solidified themselves in the minds and memories of millions. It’s easy to see why fans were hesitant, and confused, when the remake was announced. Some went as far as to write off the movie completely before even hearing what the changes would be. Well, as it turns out, the changes were pretty drastic, in part due to the legal issues of having a remake separate from the Mancini Chucky universe, soon to make a place for itself as a spin off TV show on the SyFy channel.
Child’s Play 2019 has brought Chucky and Andy into the era of asking someone for their WiFi password as soon as you walk through their door. The film is directed by Lars Klevberg (Polaroid) from a screenplay by Tyler Burton Smith (Kung Fury 2) and produced by David Katzenberg and Seth Grahame-Smith (IT, Chapter 1 and 2). In our post-Stranger Things world, Andy, played here by Gabriel Bateman (Lights Out), is no longer a six year old child but rather a young teen having trouble fitting in and making friends in his new neighborhood. His mom, Karen Barclay (Aubrey Plaza), is still a single mother working in retail, but the doll she brings home for Andy’s birthday is incredibly different due to the exclusion of one incredibly important character: Charles Lee Ray. Gone is the Voodoo. Gone is the Lakeshore Strangler. Gone is the voice! The new direction is daring to say the least.
In this version, Chucky is a WiFi capable, Cloud connected Buddi doll. As part of their use as an educational tool for children, Buddi dolls learn from their Best Buddies, picking up on their sense of humor, social cues and behaviors. Eventually Buddi could help you keep track of your calendar and even control climate setting in your home. Seems pretty cool, right? Well it would be, except Andy’s Buddi doll was hacked by a disgruntled factory worker who does away with Chucky’s limiters for language, violence, and seemingly even his free will.
What I feel works especially well in the new take is Chucky’s innocence at the start of the movie. A Buddi doll’s only mission is to imprint on their new owner and be the best friend this child could ever ask for. We get scenes of Andy and Chucky playing chess, hanging out, and even looking through scrap books of Andy’s art. Chucky takes a genuine interest in Andy and simply wants to be his Best Buddy, so when Andy is scratched by his mother’s cat, we get the first glimpses into Chucky’s unlocked potential for violence. He wants to punish anyone, or anything, that wishes Andy harm. Chucky hasn’t just imprinted, he is frighteningly obsessed.
One of my favorite scenes plays out as Andy, and his friends Falyn and Pugg (Beatrice Kitsos and Ty Consiglio, respectively) are watching a particularly brutal horror movie. I was genuinely giddy in the theater when the clips started to flash on screen, so I won’t spoil it here. This is where we see Chucky’s gears start to turn. Much like a child who may pick up on violent behavior they’re exposed to, Chucky sees Andy and his friends laughing at the outlandish violence on screen and decides to “entertain” them with a butcher knife.
Through out the course of the 90 minute run time, we see Andy struggling with how to control Chucky, now having gotten the wrong impression of violence and feeling rejected by his Best Buddy. The stakes are raised as Chucky becomes increasingly violent, seeking to please Andy at every turn only to make things worse, like a genie who twists their master’s words, making them sorry for not being more careful with their wishes. Come the third act, we can start to see hints of Chucky’s own fully formed personality, now having been twisted and deranged by the movies events.
This movie was more fun than I anticipated, and it even got my wife’s stamp of approval after I dragged her to the theater with me on opening night! Rather than try to be some incredibly bleak, super realistic take on the story, Child’s Play knew exactly what it was and went all out with the ridiculous concept. The movie’s R rating was also used to its full potential, and though most of the scares are pretty telegraphed, they shower you with so much blood and gore that you can’t help but laugh. Andy’s group of friends, though not nearly as charismatic or fun to watch as the cast of Stranger Things or 2017’s IT, really helped to give the movie some much needed warmth and heart. Brian Tyree Henry (Atlanta), who played this movie’s Detective Norris, also gave a great performance, balancing comedy and that detective bravado just right.
The standouts though were Gabriel Bateman and this movie’s Chucky, none other than Mark Hamill (Star Wars and The Joker in Batman The Animated Series, I mean DUH!). Bateman gave a great performance as Andy, carrying a lot of the movie’s emotion, and Hamill helped give this Chucky his own voice. The third act culmination of Chucky’s deranged personality would not have been nearly as effective if not for Hamill’s amazing voice over work. This is not to say though that the movie was perfect. Aubrey Plaza was bland as Karen Barclay, giving every line that classic, so-edgy-it-hurts, Plaza sarcasm. It works on Parks and Rec and even the movie Safety Not Guaranteed, but it feels so out of place here. Thankfully, Bateman was there to sell most of their scenes together, or I would not have been able to buy into their relationship as mother and son, much less care about their survival. In addition to Plaza, there were a lot of jokes in the first and second act that simply didn’t land. The lines fell flat and hardly got more than a chuckle from most of the audience I was with. I’m sure they were after the wit and timing of the young ensemble cast of IT, but that came from time and intensive work building off screen relationships within that cast. Some jerky editing also made the movie feel like it would have benefited from an extra 15 or 20 minutes, leading to certain scenes that were meant to be emotional being brushed over and rushed.
Lastly, let’s address the elephant in the room: Chucky’s redesign. The very first reaction I heard as Chucky’s face flashed on screen was “Ew, what the fu-“. I want to give the effects team credit for sticking to mostly animatronic work once again, but Chucky’s face was simply horrendous. I’d like to think this was intentional, perhaps they wanted to play up the Uncanny Valley effect as much as possible, but I can’t see myself or any other fans saying the design won us over, no matter how fun the movie was.
Did Child’s Play 2019 have to be a Child’s Play movie? No, not at all. In fact, they could have called it “Alexa Gone Wild.” and it would have held much of the same effect. With that being said though, I think I enjoyed it as much as I did because of their new take. It impressed me just enough to leave me thinking “Wow, that was really fun!” I love the original Child’s Play, and Brad Dourif is quite honestly irreplaceable, but the film makers saw the challenge they had with this new version, knew the audience they had to try and win over and they swung for the fences. I may not be able to convince everyone to give this movie a shot, and I’m fine with that, but I think the most important thing to remember is this: If you’re going to update one of my favorite toys, my “Friend til The End”, then make sure the new version keeps me entertained til the end, friend.
Rating: 3.5 Full Moons out of 5 🌕🌕🌕🌗
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moistwithgender · 5 years
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Monthly Media Roundup (April 2019)
April was a bit of a disaster month for me, and as such I didn’t get much of anything finished. Old wounds got reopened, I was sick all month, I had an unavoidably bad birthday, and a lifelong pet died. I didn’t engage with a lot of things, and mostly slept. I did play a lot of Breath of the Wild, but seeing as I didn’t finish that, I’m not including it yet. Here’s the things I did finish:
Games:
Blaster Master Zero (Switch): I actually first bought and finished this two years ago, and since the sequel has come out I decided to replay it with the Shovel Knight DLC character. While I genuinely like this game (I 100%’d it both times), I was not really in a good spot to enjoy this playthrough, and just kinda mindlessly pushed through it for nine consecutive hours, beating it in that single sitting. Playing as a DLC character removes the story, which is fine since they’re intended for replays, though I wonder if it added to my emotional disconnect. SK doesn’t receive fall damage, and so the precariousness of navigating the world outside of the highly-mobile tank doesn’t exist nearly as much, though the trade-off is that SK’s combat abilities in dungeons are hindered by an overall lack of range. The game is still rather easy, though, so I can’t say any particular level cadences or combat scenarios carved their way into my memory.
To the game’s credit, though, the things that are good about it are still good. If you have an attachment to the original NES game, or an interest in retro properties, or just want a nice, breezy platformer, it’s very good. It’s interesting in how it repurposes the altered plot of the US version of the original game (where it was its most popular), including even the plot of the little novelization that came out because Gotta Get Those Video Game Kids to Read Something. It has a fake out ending, and if you 100% the maps it unlocks a final map that is genuinely surreal enough to be the highlight of the game. Despite my sighing, it is a genuinely good time, and I’m very curious to play the new game, somewhat hilariously titled Blaster Master Zero 2.
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Anime:
That Time I Got Reincarnated as a Slime: I chewed through the last four episodes of this so that I could say I finally finished the season. I didn’t watch the post-season recap episode. TenSura (the abbreviation of the Japanese title, which I will use to refer to it because satisfyingly abbreviating the english title is impossible) is not a very good show, but for about half the length of the 24-episode first season, it fascinates due to how it functions at all. TenSura is an isekai show, much like the other isekai shows, where a person dissatisfied with their life is brutally murdered (usually by a truck. USUALLY by a truck) and is reborn in a fantasy world that coincidentally gives them an absurd advantage over other people, allowing them to live out all the decadence they felt they deserved in the real world. If this sounds like the most boring kind of wish fulfillment possible to you, that’s because it is. It’s also extremely popular with consumers. Which is interesting! I think the isekai boom is indicative of how late-stage capitalism everyday people the world over, that we envision or escape to worlds where your efforts actually return appropriate reward. A bonkers concept, to be sure.
In TenSura, the formula doesn’t stray much. The main character is a man in his 30s (?) who has never fucked and gets knifed to death while HEROICALLY saving a coworker from a plot-irrelevant stabber dude who was running down the sidewalk with his knife out for no reason besides Main Character Needs an Inciting Incident Now. It’s actually pretty weirdly violent for the start to a show that is almost entirely light-hearted. Dude dies, his coworker dumps his hard drive in the bath out of respect (lol), and he wakes up in a fantasy world that works on videogame logic, including loot, skill trees, and class upgrades. He is reborn as an adorable slime a la Dragon Quest, but the personality traits he had in his previous life (and I guess his choice of dying words) scan to obscenely convenient passive abilities that ensure he’s not only invincible, but will never stop experiencing exponential power growth. Also he immediately makes friends with a final boss-level dragon and then eats him. That’s how he makes friends in this sometimes.
I’m being very cynical here, but the core narrative loop (and it IS a loop) of the series kept my interest for longer than I expected. Rimuru (the name of the reborn protagonist) goes somewhere he hasn’t been, astonishes the nearby (sometimes violent) inhabitants with his overpowered abilities, makes friends with them, and then improves their lives with community. Goblins, direwolves, orcs, demon lords. It stacks and builds upon itself to absurd degrees but it’s interesting that in a genre loaded with very problematic stories of disenchanted dudes finally getting the underage harem they’ve always wanted (aaaaAAAAAAAAA) that the main concept of this series is improving the lives of others and giving them closure for the ways life has hurt them. Even if. Sometimes that hurt was the main character’s doing? Like Rimuru absolutely decapitates a direwolf leader and then adopts the pack who from then on absolutely LOVE the dude. Also one of Rimuru’s abilities is that if he gives a monster a name, it class upgrades, which is generally and reasonably seen as a life improvement. Though, these class upgrades are almost always decidedly “less-tribal” or outright human, which smacks of some imperialist thinking. It’s also something I’m sure I never questioned in old videogames growing up. Meanwhile, there’s also a bit with a woman who came from Japan during that one really bad war, you know the one, and the closure she’s given as she’s dying is handled with actual delicacy. It’s a weird series! It’s only a shame to me that after most of the first season, there was less to talk about. Sometime after the halfway mark, you realize the show is never going to maintain tension for more than half an episode, that all problems are solvable (yes, even terminally ill children), and that the show isn’t going anywhere you can’t predict. It’s a checklist show, and the plot points are a list of achievements being checked off one episode at a time.
I don’t think I would actually recommend the show to most people, despite how popular it is. It’s not a great show, but it does weird enough things for a while that it generates conversations. Which is honestly pretty okay. It’s a pretty okay show. Also, Rimuru is effectively nonbinary (with he pronouns), and that’s… somethin’! (24 episodes, finished 4/17/19, Crunchyroll (Funimation also now has the dub I think? Clips I saw were pretty weird, Rimuru seemed to be characterized differently.))
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Manga:
Nejimaki Kagyu Vol 1: You would think a manga that immediately starts with a reference to Phantom Blood would be, well, at least interesting.
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Okay maybe invoking a beloved work doesn’t actually mean anything. I just wanted to share this blatant callback. Nejimaki Kagyu is a seinen manga about a highschool teacher whose tragically cursed to, uh, have all teenage girls fall in love with him. And the highschool-age childhood friend of his who has spent her whole life obsessed with him and learning super martial arts to defend his chastity. Her supers make her clothes explode.
I take no joy in this travesty.
Anyway, uh. The biggest tragedy here is that the art is actually really good, though the paneling is regularly squished around to hilarious degree. Let’s look at some pages and then forget this manga exists forever.
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That horror face is how I feel the entire series should be portraying itself. The manga has a distinct lack of self-awareness.
The fan translation for this series appears to have dropped off halfway through and hasn’t been picked up for years, and based on reviews I saw on MAL talking about the directionlessness of the later volumes, I wonder if the translator got fed up with the series. Oh well!
Kyou no Asuka Show Vol 1: Oh god damn it I just got done with talking about a series about ogling the youth.
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BLEASE STOP
Okay so. Kyou no Asuka Show, or “Today’s Asuka Show” is an older slice of life manga by the same author I mentioned previously who is doing an edutainment series about people working in a condom factory. Innocently-minded women in comedically lewdish situations appears to be his whole bag. I think Asuka is pretty charming, but I also know she’s designed to appeal to my monkey male gaze. Obliviously sexy is very much a mood, and in a more adult context I would be all for it. There have been a few chapters where I find myself at odds with the wisdom the author is attempting to impart, sometimes through Asuka’s father, who works as an adult photographer, and doesn’t want his daughter involved in anything that could cause her to be ogled. Like, that’s already something that requires a lot of unpacking in the modern day. Aforementioned wisdom sometimes takes the form of Asuka doing something stupid and innocent and ripe for objectifying, like wearing a school swimsuit in a rainstorm. Or she’ll work a job as a cute girl courier and inadvertently turn a shut-ins life around. Situations where, if it were in real life, I’d think “wow that’s weird and charming,” but by being a work of intentional authorship, it inherently loses some of that innocence, and becomes something well-meaning but problematic. Is that the second time I’ve used the word “problematic” in this post? Is this 2014?
I may continue reading this, but I really can’t recommend it to most people I know in 2019 without several disclaimers and also without probably getting some side eye. I think it’s worth a couple chapters to feel out what its doing before you decide whether you can siphon the charm from it, or would rather move on to something else.
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Me enjoying myself when this manga tries to suddenly get up to some shit.
Blue Period Vol 1: This is the last thing on my list, because I don’t want to expand this list beyond the three mediums I’ve already assigned to it. Also, I actually finished this May 1st, but I wanted to talk about it now.
If I had the power to actually get people to engage with a specific work once per month, Blue Period would easily be the one I pick. That doesn’t mean as much when all the other things I finished this month were conflicted experiences, but I really think everyone would benefit from this series. Or at least anyone with even a passing interest in visual arts.
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Blue Period (named for Picasso’s Blue Period) is about a highschool delinquent who has a knack for studying, a safe social life, and no interests in pretty much anything. He’s on the road to do fine in his life, and he doesn’t question it much, but that’s it, until he discovers art and realizes it’s the only way he’s ever been able to truly communicate his feelings. It changes everything about him, for more emotionally satisfying reasons, but also riskier ones. He only has one year of highschool to go to decide what he’s doing with his life, and Japan has a very strict education system. You’re not really allowed to just “get around” to things.
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Apologies in advance if you’re tired of me spamming full pages but I really do wanna show this off. This is another series with an educational angle to it, though the emphasis is definitely more rooted in a personal narrative of growth. The explanations of art practice and the functionality of exercises and tools are both very informative and relevant to the characters, never feeling like the story is taking a backseat to explain. The characters are, hilariously, everyone I’ve ever met in an art class. There’s the kid who would rather exclusively draw the things they like, there’s the kid who likes art as a hobby but haaaates being given a project, etc etc. There are students who have an innate grasp on how to draw but haven’t internalized the Why of the exercises, and students who are receptive to the lessons but don’t have the ability to match. The narrative is extremely even-handed towards all of these different levels of skills, and places a lot more importance on why, emotionally, you should totally care about drawing apples and water pitchers for five hours at a time. It’s GREAT and I want to force it on every creative I’ve ever known.
Another thing I appreciate about this series so far is that while there has been something resembling sexual/romantic tension, it’s kind of not like that at all? In the first volume I haven’t been able to pinpoint where a potential relationship subplot would go, if at all. Two possibilities are this girl:
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...who is a very likable character but surprisingly doesn’t fit into that box of “standard love interest”. The protag’s interactions with her have been exclusively respectful and admiring, which doesn’t even necessarily imply a romantic subplot, but would be pretty cool if it did? And the other girl:
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...who is featured in decidedly more sexual tension-y contexts, is actually TRANS. The manga actually portrays them so uncompromisingly feminine that I didn’t realize they were crossdressing (the term used in the text) until the author’s notes at the end of the volume. I will partially blame this on me being out of it this month, since I just went back to their introduction and yep, they got misgendered and contested it. Given how the character is regularly framed (confident, attractive, skilled, nonstereotypical), I’m… pretty okay with this! If a romance blooms between a delinquent boy and a trans girl, that’s amazing.
I hope y’all understand where I’m coming from in expecting a shoehorned romantic subplot. I’m not hoping for one, I just know the product by now. And if it happens, the options are considerably more interesting than usual.
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These are pretty good kids.
Manga licensing is a lot better nowadays than it ever was before, with lots of obscure series being picked up, old series getting re-localized, and translations being better than ever. I really really want this series to get licensed so someone can be compensated for it, and so more people might read it. Until then, I think you should look up the fan work.
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So that’s all for April. If these posts included live-action movies, I’d have talked about Endgame, but I also don’t want to go spoiling anything for someone who still wants to go see that (it’s probably one of my favorite MCU movies, though). I read most of 1970-71 in Marvel comics, or at least most of the issues on my reading list, but I semi-liveblog about those, so you can just search my “curry reads comics” tag for that. Here’s hoping I have more interesting, more positive things to say about May in a month. I expect to finish Breath of the Wild by then, so I’ll finally talk about that. Thanks for reading, if you made it this far! Go check out Blue Period.
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sailor-cresselia · 5 years
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Zi-O 29-30: Blade spoilers within (from someone who has NOT watched Blade)
Ha! Black!Woz walks out of the Storytime vault and into 9-to-5.
White!Woz: Haha sweet I get to choose Another Blade
Swartz: Hey, what do you think of being a person who gets used… you know, hypothetically speaking…
White!Woz: ...ah. Well. Shit.  
(We continue this super spoiler-iffic liveblog under the cut. It gets long - this one made it to about 3,000 words. My apologies to mobile users. Just... scroll. Scroll like your life depends on it.)
Awww… the café from Blade has photos from back then on the counter, that’s so sweet. And Amane’s actually wearing the recent necklace for Chalice – that’s a really nice touch there, Toei. Product placement, but it’s a really nice tribute.
Another Blade’s design is – that’s terrifying, that’s a lot of knifes. I like how the spade symbol glows red, and it doesn’t have the ‘handle’ part of a spade. It’s a heart, too. But the thing is… this is the second Another Rider to not have the lens-eyes. Everyone up to Another Zi-O had them, and he notably didn’t.
I know people have been saying they’re proud of Sougo for managing to graduate, and I agree. I really do. I’m happy for our book-dumb protagonist. It’s actually kind of nice to see all four of the ‘team’ together. You know, for certain definitions of ‘team’.
Noting here the Tsukuyomi hasn’t told Sougo that his ‘dream’ was. Not actually a dream, so much as a memory. It makes sense that a small 8-year-old reality warper would take the trauma of something like what Swartz did, and assume the first time he saw it was a nightmare, too.
(Seriously, screw that guy.)
Okay, so, I have not watched Decade, but… from the two (2) films I’ve seen with his cast – WxDecade and the first Hero Taisen movie – this seems to be pretty damned in-character for this Daiki guy. “Lol sup hi just saying hello don’t mind me” *proceeds to steal all your transformation trinkets*
Case in point… Sougo and Geiz don’t notice their personal watches are missing until they go to activate the button on the side. Not when they don’t pull anything out – no, when they go to turn them on. Boys. Boys please.
Also, can I just say that I’m starting to see why people pair Tsukasa and Daiki? I mean, the guy came out in a ~magenta~ apron. And they’re both little shits.
Sougo just shoves Woz in front of them. Woz!Kikai is so OP, oh my god. First the mind control thing when it debuted, the satellite dish lasers in Another Zi-O, and now it has extendable robot arms to grab the watches back. Oh my god.
(Kaito, suddenly copied into another existance as Baron: GFDI just let me be a tree spirit already)
(I know it’s a doppelganger, but seriously. So many Barons. So little patience on his end for people constantly trying to revive him as a pawn.) 
Sougo: Okay, so, you guys’s past is my future, and since it’s 2019, anything that happens in 2068 is the future now, so aren’t you talking about things that haven’t happened yet?
Woz: My lord, please, verb tenses get complicated enough without you speaking.
OOF. Yeah, uh, there’s gonna be a. A few problems with Blade ‘2019’. Namely that he isn’t supposed to be in, like. Japan. Ever again. Because Bad Things Happen when he is around fellow Undead. (He made an exception for Gorider, because a certain zombie f*er was stealing his gig, and poorly at that.
((Am I saying that he’s an asshole who is also a zombie, or that he would do a zombie? … Both. I’m saying both.))
Sougo: Okay, so, we need one person who can fight on both ends, and really, if a team is going after Geiz’s watch, it ought to include Geiz, and you guys want me to go after the Another Riders, so of course the groups are me with Tusukyomi, and Geiz with Woz! :) It’s only rational! :) And if you happen to work out whatever’s going on between you, well, that’s just a bonus, isn’t it? :)
Geiz: ...if I kill him, it’s your fault, you know.
Tsukuyomi: This is a terrible idea.
Sougo: I know! :)
(gasp) Dark Toei is giving us the forbidden rebel backstory!
Oh goody Woz was the leader of their team! And he said he was going to ‘infiltrate’ Oma Zi-O’s camp! And everyone died because he seems to have switched sides. Delightful.
White!Woz: Excuse me? I see a pair of powerups here, but not the one I specifically requested you get.
Daiki: Lol you mad?
White!Woz: ...fight us irl bitch.
Daiki: Heh.
Huh… So… when White!Woz’s tablet makes someone do something, they’re supposed to hear his ‘narration’… and maybe that’s a recent idea from the team, but. When it seemed that he was compelling Sougo to come after him – I can’t remember when, it was during either Shinobi or Quiz, but Sougo and Black!Woz were talking in 9-to-5, and he summoned Sougo away, that didn’t happen. Hm.
Sougo: Dang, couldn’t even knock the watch out temporarily. Drat.
Hm. Regulus is showing up in the daytime now… and so is the rest of the constellation. That can’t be good.
Oooh, nifty. Another Blade has the inverted heart for Chalice on her torso, but the spade for Blade on her. Well, blade. As well as a circular saw, which is a bit overkill when you consider the literal knives sticking up from her shoulders.
Oh, hey, remember that theory about how the Another Riders are technically the enemy that each rider fought? Like how Another Gaim opened cracks into the Helheim forest, and Another OOO bled Cell Medals like a Greeed?
And remember why Kenzaki can never return to Japan?
Undead are drawn to fight each other.
Okay, I get why a speed versus speed battle, to counter Woz!Shinobi, would wind up with Diend summoning Accel. But why Birth? Date’s version was never particularly fast – he’s more of a Mighty Glacier. And the suit isn’t really intended for speed, since Gotou was only particularly speedy when he used the Cutter Wing ‘attachment’.
And then I am immediately answered. Bike juggling to get Woz into the air, so that ‘Birth’ can shoot him down without mercy. (Was reminding us of the bike form really necessary? Was it? I don’t think it was. I could have done without seeing that in-action again.)
Diend: Wow, that’s cold, even for me, watching your friend get beat up like that.
Geiz: Bold of you to assume we’re friends. He’s a born liar. I mean, he’s using a ninja form right now.
Geiz: Yeah, no, Woz, screw you. I know you wanted a distraction. Asshole.
Diend: Aw, look, they do like each other.
OH THANK COSMOS it’s Chalice Versus Zi-O. ...for now. There’s about minutes left for everything to go terribly, terribly wrong. (Because Blade.)
And then it immediately went terribly, terribly, wrong.
Kenzaki and Hajime haven’t transformed in years, because they can’t. They would feel each other’s power, seek each other out, and be forced to fight. Probably the only time Blade has reappeared was in a slightly-alternate reality. (shakes fist at Gorider). And Kenzaki looks absolutely terrible. How did you get here so fast, sir? That jacket has clearly seen far better days, is the damage recent?
Some excellent ‘teamwork’ on Geiz and Black!Woz’s parts – using Shinobi’s finisher to get the two targets in one spot for Geiz’s finisher. Clever. Pity that the other two watches aren’t here.
And with that, and some brutal slashes exchanged between Blade and Chalice…
we move to episode 30.
The power-up watches get all electro-staticy, and try to start a chain reaction with White!Woz, but it doesn’t hold up. Hm.
Geiz: What’s your issue?!
Diend: Looking for my boyfriend-rival. No big deal.
Oh man, neither of them want to be in this fight, but they don’t have a choice. Zi-O accidentally knocks Another Blade into the line of fire for Actual Blade’s finisher, so naturally Chalice steps in to try and take the hit.
It doesn’t… technically work. She still gets knocked out of her transformation, back to Amane, and he’s still in his armor.
Kenzaki: oh god oh shit what the hell?! Amane?! what’s going on oh shit
Woz’s storytime vault…
Oh… The Day of Oma is apparently meant for Sougo to stop the end of the world… apparently as brought on by the Battle Fight.
… Rider versus Rider, right? A pair of Riders who can’t coexist, but also can’t not coexist. And yet another who is supposedly erasing all Riders from history. Starting with the primary members of each group. So… if Blade goes, the world goes. If Chalice goes, the world goes. If they both go, Oma Zi-O rises.
“An interesting game, Professor. The only way to win is not to play.”
Zi-O II’s shot in the opening has been replaced by Zi-O Trinity.
Geiz can relate pretty hard to Kenzaki’s resignation to having to fight Hajime, but also to his desperately not wanting to do that thing.
Once again, we have the question of “What is the future you are aiming for?” The question of “And then what?”
Geiz wants to see the one that Sougo – that they will create.
<3
Junichiro: Hey, what are your plans for the new era?
Sougo: ...Uncle, you have no idea how loaded that question is with this group.
(or does he?)
Hey, that camera’s a clue in more ways than one, isn’t it? Another Blade was attacking photo studios, because Hajime’s a photographer. But that camera’s awfully similar to Tsukasas. Who asked you to repair, that, I wonder…?
Yeah, Woz, you’re kind of being a hypocrite here. Criticizing a woman for wanting to reconnect with an old friend/mentor, while unable to get over the urge to lord over having been Geiz’s superior. GEIZ has a point in his anger. WOZ is just being an ass. And Sougo hones directly in on this.
Kid’s got a decent Charisma stat, too.
When Amane picks up the photos, through to when Kenzaki calls for Hajime. That! The Background!
I think that’s a piano ballad version of “Zi-O: King of Time”!
OST when?
And, also, can we get another instance of Future Soldier in-show anytime soon?
Okay, okay, sorry, back to the show.
OH NOOOO.
Firstly, White!Woz summons the two into a fight.
Then he forcibly activates the Another Blade watch inside of Amane.
The transformation has a screen with Another Blade’s face appear and move over her, just like the card that appears when Kenzaki transforms.
Ow, my heart.
OH SHIT RIGHT.
These two episodes have made no effort to hide the green blood that both Kenzaki and Hajime have – from the miscolored bruises to actual bloodstains. And Undead can be ‘sealed’ away – that’s where the Rouze cards come from in the first place. Another Blade – no. Amane doesn’t want them to fight – doesn’t want them to have to fight. So she seals their powers. Their emblems move onto the Another Blade… armor, I guess is as good a word as any.
And now their wounds are red.
But she just took the powers of two Jokers, absorbing them into one person. Leaving one person with the Joker designation.
Herself.
Please note that I typed this immediately before restarting, only to watch the Sealing Stone appear.
It’s the end of the world as we know it, and nobody feels fine.
Oh, the cinematography of this show. A beam visually separating Sougo and White!Woz from their angles on the stairs – it’s going the opposite direction, making an x with the handrail behind them.
We’re back to the question of “And then what?”.
White!Woz’s future is gone, the potential isn’t there anymore, so he’d rather there not be a future at all. I guess we’ll never see if my ‘a future frozen in an endless moment’ theory was right. Pity. I was wondering if they would go that route for him.
Oooh, an orchestral version of ‘Zi-O: King of Time’!
“You can’t just give up! What’s the use in assuming that it’s over?” Sougo is cheering on even his enemy this boy is not nearly as dark as he assumed in the Ryuki arc, oh my goodness. “You can’t say that any one future is set in stone, so keep trying, keep opposing us! I’ll... No. We’ll keep foiling your plans, but you can’t just give up on the world.”
And the orchestral theme just keeps rising in the background.
Oh… and Sougo said the same thing to Woz. Geiz says that he can’t stand living in the past. And, like I guessed last episode, in like, the fourth section of this liveblog… The past that they’ve lived is, technically, still in the future from where they are now. From Sougo’s perspective, and from the perspective of time itself, none of that has happened yet.
Besides, like Geiz is saying, they came to the past to change history anyway. They’re making a new future, all of them – Sougo, Tsukuyomi, and Geiz… and Woz.
“Do you want in?”
“… That sounds interesting.”
Hm. The Trinity watch – which is somehow successfully created by White!Woz – has all three of the current Belt Voices, doesn’t it? The two that the Ziku Driver uses and the high-pitched one from the BeyonDriver.
“If you use this, I will accept it.”
… accept what? The option to create a new future? The future that Sougo’s aiming for?
Nifty – the light from Regulus and the Day of Oma burns out the clouds from the Sealing Stone.
Pffft - ‘the light is guiding us’ no, no it’s not so much that…
(I love the ‘wtf is going on’ faces from Kenzaki and Hajime)
GEEZ Trinity’s basically a mini-Sentai mech, with all three of them in one place inside.
“Guys, no, I’m sorry, I know none of us know what is going on, but I have to take control for a second, I have to do my speech okay, it’s in my contract. This is not optional.”
I like how the hand on the clock moves to point to whoever’s in control of the body.
I really like how Trinity forms all of their weapons – and how they dissolve when discarded. Nice touch.
And I really like the triumphant section of ‘King of Time’ playing behind this fight.
...Regulus is shining still, brighter than before. With a ‘shine’ of pink, yellow, and green. Their colors.
“Why did you choose to let me stay?”
“Because I think you have more potential.”
White!Woz accepts that ‘his’ world will never exist, and that Sougo will create a better one. He goes out peacefully, and warning Black!Woz – no. Warning Woz that Sir Swartz is planning more than they know.
He goes out with a shimmer of golden motes of light, and the glitching effects that have been a key sign of time re-writing an existence.
Oma Zi-O: You’re almost done… only six more until you’re me.
Sougo: But what I don’t want to?
Daiki yoinked the Future Note. Show off.
Which, of course, creates a slight problem for me and my potential ‘fix it’ of Zi-O, down the line in the Re-United ‘verse. Or, rather, a complication.
See, the draft I’ve got has at minimum one of the Den-O’s and Zeronos ferrying Riders back and forth. THAT is how I plan to deal with the amnesia issue. Not warning them in the present and past, like I had planned. But having the ‘contemporary’ versions of them just. Sorta travel backward, and pretend that they’re the ones that from in the past. Just… ya know, keep their past selves unaware of what’s going on, take the brunt of temporary power removal. Fill in for themselves when Zi-O and Geiz meet them.
And I had everyone scheduling this from Tsukasa having somehow duplicated Black!Woz’s book when he grabbed it during the Ghost arc. I have never seen Decade, and have no idea if that would even be part of his powerset. But, like, Trinity just knocked off his ability to turn Riders into weapons and stuff, so. Ya know.
I’m apparently not that far off, if I can work Daiki into it. … need to watch Den-O and Decade first, but that’s just how it goes.
The complication is my stated ‘not wanting to touch on Zi-O’ aspect. I now admit that I want to handle it somehow, but if they keep airing concepts similar to ones I’ve been working on for months, I’m going to get accused of lying.
Arceus, Cosmos, and Gaim DAMNIT.
Of course, you may have noticed I skipped a scene there during the re-cap.
Because not for the first time, something has been saved by Zi-O taking powers away. I’m still decidedly not here for the amnesia concept, and I am not okay with the fact that certain characters have potentially been un-created – Ankh, Parad, Poppy and the like among them – but here’s the thing.
Both Kenzaki and Hajime remember being Blade and Chalice. They can properly retire – They’re both bleeding red. Hajime was never human to start with – he was using the Spirit card to be human. But he seems to be human now. The Blade and Chalice watches appear to have taken their Joker situation out of the picture.
Like how his intervention by introducing the father to Emu, who clearly went on to point him to Hiiro, saved the son during the Ex-Aid arc.
Like how the girls would have never gone missing during the Fourze and Faiz arc, to say nothing of Takumi and Kusaka being decidedly more alive than usual.
Like how Kaito also appears to be alive again after the Gaim arc.
And how neither the girl or her brother died in the Ghost arc.
How Rentaro can become Shinobi in a newly created potential future.
How Mondo got to meet his father.
… admittedly, his apparently re-creating the events of Ryuki might be a problem. I haven’t had a chance to watch any of the RIDER TIME specials, but I hear that’s what happened? Sorry, Shinji.
But here’s the thing. A not-insignificant number of things have turned out for the better… and as long as the ‘you were never riders’ thing can be… worked around…
Hmn.
((also, just a quick note, if you comment on any of the sections in here, I’d really appreciate it if you specify which statements you’re talking about. These recaps get really long, so... y’know, it’ll make it a little easier for a conversation.))
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lbat1901 · 4 years
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2019 Review
I’ve never posted an end year review on Tumblr. I only post on either Facebook and DA, buuuuut it’s time for a change.
Also I couldn’t decide whether or not to separate it into two parts. I decided to say f**k it and post the whole thing.
Anyway, welcome to the first ever year end review where I recap 2019. Just a side note, I am doing this so you won’t have to. Also there a lot of ranting in this.
Quick thing to know is that I can become very brutal when comes to ranting. Trust me they’re not pretty. Oh and I tend write these things like at either towards the end of June and mid July about the stuff that just happened before coming back to it in late October and early November while adding even more information. That’s how things work.
Anyway with that out of the way, I present to you, Lbat1901’s review of 2019 broadcasted worldwide on this day of December 31st (or either the 1st of January and/or December 30th depending on your timezone).
2018 was a good year despite a few thing here and there. Now 2019 was a tad bit better but we lost the OG actor of Chewbacca from Star Wars. Well this isn’t a bad thing, there’s another actor to play the part.
If deaths weren’t always there to make a year bad, then it would be a person’s own downfall. I’m talking about the downfall of the one and only ProJared. Oh god….when I heard the news that he and his wife were filing for a divorce, it wasn’t good at all. Well it was bad at first, but it got worse when his ex-wife stated that he cheated on her. That took me by surprise, but I was all like: “Ah well. Things can’t get any worse than that, right?”. Unfortunately things did got much much worse.
ProJared was reported for doing some sexual activity on Tumblr. He actually DMed a minor and said some explicit stuff to them. Oh boy….that was a shocker. Due to this, everyone and his fans couldn’t find it in their hearts to forgive him. By the way ProJared at the time reached the milestone of 1,000,000 subscribers. That…later went down. A couple of months later, ProJared posted an apology on Twitter which didn’t make any sense. In reality doing that kind of stuff like that could land you in some legal troubles and you won’t be able to recover from it.
It really sucks and it hurts me a lot when it should be considered that ProJared is one of my favorite gaming channels on YouTube and one of my inspirations for all that sweet comedy gold. His videos are so good along his random commentary and jokes. Plus him working together with PeanutButterGamer, another YouTuber that I like, gave out some great positive vibes of collaboration. It’s going to take me a very long time to get over this and find it in my heart to accept his apology, but for now, I’m taking a break from ProJared.
…Aye I’m just kidding! It turns out that in late August, he uploaded a video explaining what really happened which means I can forgive him. I rate ProJared’s explanation video: “a fixed reputation out of 10.”
Another thing that happened was the suicide of another well known YouTuber that I like, that goes by the name of Etika. You see Etika is known for his reaction video especially when it comes to stuff like Nintendo such as Smash Bros. His DLC reveal reactions were priceless and hilarious. At the time, I never knew he had mental issues since it wasn’t clear onto why he always acts up giving off this destructive behavior. I’ve always believed that he did this for to be funny, but now I look back at it, his reactions were a bit too much. Shockingly before his death, he was went to some mental place and even came out from suffering from depression.
Soon afterwards, his family and his fans all reached out to him, but Etika pushed them all to the side. After that, he released a video saying how sorry his was shortly before he took his own life out. When I first heard about it from IGN, I didn’t believe it. But after awhile it turned out to be true. Etika really did killed himself.
I’ll say this once: killing yourself isn’t an option. Sure it maybe a solution to end your problems but in reality it makes everyone around you fall in deep despair. This is coming from a person who had depression in the past along with some forms of PTSD and schizophrenia. If you’re suffering from depression don’t turn down help. There’s always a light at the end of tunnel waiting for you to go towards it. Don’t stop waking to it. And Etika if you’re reading this, from wherever you might be, I hope you’re doing better than you were before since your now considered to be free from your troubles. All of us are going to see you again. Even though I haven’t meant you in person, you’re still a cool guy to me. Stay awesome.
Okay enough of the heavy feels. You all know what’s coming up next. It’s the part where I rant about the things that have happened this year. And hey, new people, you get to have a front row seat for this. The ranting part always gets my reviews a whole lotta views, making them somewhat popular. Here we go!
Alright…I’ll get this part out the way. Is it just me or was it that January 2019 was a very painful month to get through? No? If you’re living in a part where it’s warm everyday for the full entire year, good for you. You don’t have to suffer. But….can we like trade places? I want 90 degree weather all year long. Why you such lucky things. January, according to parts of the world that snow, is considered to be one of the slowest yet worst months of the year. Plus it doesn’t help that fact that it’s still winter and it’s the first month. I have always believed that January is a very slow month, but January 2019….oh my lord, it was brutally slow. Also January is also known to be the month of severe depression since nobody can hold onto their New Year resolution.
January 2019 felt like a drag. Plus I was still lingering to some of my depression after trying to recover from it after November 2018. It was a really bad time for me even though November is usually fast, but it felt I was being stabbed repeatedly. January 2019 was no different. Oh and don’t come to me stating that February comes after January and that it’s a fast month. That is true, but 2019 had to drug up February with depression pills making that a month of total despair. At least once it hit March 2019 things got better and much smoother.
January and February 2019, umm…what the f**k happened to you? January, I don’t expect anything magical about you, but February 2019, my god, you were supposed to be a better month. You had one job and failed at it that’s for sure.
This year’s review would like to take the attention and put it on Venezuela for once. During the first half of the year, many countries around the world has talked about the crisis in Venezuela. Venezuela is known to be a country in South America to have an oil industry which helps the country be successful. The current president is Nicolás Maduro and let’s be honest here, he’s a horrible person. Why? It’s because all of the things that he has done were quite questionable and he has said some controversial things mostly being related to storages. So far there has been several riots, people getting killed in some of those riots, nobody can get any food or medication due to power outages. It continues to get worse as time goes by. Most Venezuelans fled the country because it becoming a sh*thole and I don’t blame them. I would be fleeing from the country too if I can’t get anything. As I said before, countries around the world have been talking about the issues happening in Venezuela. There are some countries that support Maduro while other countries such as the US supports Juan Guaidó who vows to oppose Maduro. This kinda triggers the 2019 presidential crisis in Venezuela; however Guaidó has been given support by 54 countries as of June 2019. Although there is some competition, nobody should be getting in the way since this is Venezuela’s fight and it’s basically their freedom of speech. They must fight the powers that be.
What’s coming up next is something that I refuse to ignore. Article 13 getting passed. You heard that right folks, they did it. They actually f**king did it. In March 2019, the EU were having a debation on whenever or not to pass Article 13. If you don’t know, the EU created a whole bunch of rules for each country in Europe to follow. Some are good and some are just plain stupid. Article 13 is kinda like Europe’s version of Net Neutrality…only if it were on steroids. Article 13 has some tight restrictions but the most controversial thing to come from is that it kills off anything that has to do with copyright. Anything like music, video games, and of course memes won’t exist and guess what? Those motherf**kers in the EU actually said “f**k it!” and let the thing pass and all thanks to this lovely son of a b*ch, Axel Voss
*sighs heavily*
Axel Voss…why? Why? Just why? Why would you say yes? Months before the voting in March, you were supposed to be hope. I trusted your word. I thought you knew what to say, but you had to say the complete opposite. And do you want to know what my reaction is? Do you really want to see it? Oh I’ll give it you you. Here is goes. All I have to say is….wow, you really f**ked everything up big time and here’s my message towards you all:
F**k the EU! F**k Article 13! F**k everyone who allowed to let this thing get approved and have it take effect two years later! And finally, f**k you Axel Voss! F**k you all! I hope all you will burn in hell for this.
Now it’s time for the star of the show and the main topic I talk about every year, Trump.
Oh my where I do even begin? 2019 was the year on how low Trump can go as a president and as a person. Well he already is low.
I know that there’s a huge like and dislike ratio with this man. If you support Trump and would like to dismantle any argument that I make that is totally against everything he says and does, then that’s great! Now do me favor: GO F**K YOURSELF!!!
I had enough of this man and I am sick of this nonsense! Hell I’ve been sick of it already. He’s done way too much and he’s been tripping all over the place as well.
Why are there still people out there supporting this guy? Like seriously, what is wrong with you people?
I have a feeling that you’re going to say this: “What makes him bad to you? He basically done a lot in the past three years. He lowered my taxes so I won’t have to pay that much”.
Um excuse me? Does it look I f**king care if you don’t have to pay that much for taxes? Abso-f**king-lutely not. I don’t give a sh*t if you’re paying less in taxes along with telling me that it’s raining tacos. Must I remind you that this man ordered a government shutdown for the first part of the year which, bear in mind, lasted 30 days all because he wanted a wall to be built between the Mexican and American borders? Let’s not forget that the president of Mexico already said no to paying that wall.
So yeah, Trump was throwing a tantrum over it. Why not you just build a wall of Legos? It’s cheaper.
The more I think about this, the more I pay attention to the audience in Trump’s rallies. What do I see, I hear you ask? Nothing but basic white people and that’s exactly my point. In most of Trump’s rallies, you don’t see any black, Hispanic, Asian, or Somalian people in the stands. That’s because would they support Trump? All you see is just white people and the majority of them have blonde hair and blue eyes.
They’re not just any white people, they are the ones with the guns, Trump hats, the pick up truck, and the Confederate flag. They are also known as those die hard rednecks that love to spread hatred and racism. I do have to admit that I love rednecks with their Southern accents and charm (expect for the racism), but not the rednecks that love an orangutan that cares about himself and money.
This orangutan is also businessman who seems to have an obsession on running a business to the ground which is exactly what he’s doing to America. Plus he doesn’t think that global warming is real. Uh huh, you might want to tell that to California and its many wildfires, the farmers who had so much rainfall this year and can’t sell their crops due to tariffs, and pretty much to the entire world or you can just act like an idiot which leads into me calling you, and say it with me, a whiny little b*ch.
Oh Trump honey, you and you’re little friends are in so much trouble when it hits January because you’ve got impeached and you were basically whining on Twitter about it. All I heard was doom and gloom and the sounds of a baby crying. Awww….does little Trump want his nappy wampy? Might as well tell your queen Mike Pence that you need one, because you’re losing this chess game.
I can’t get the image of Trump showing off a map on where Hurricane Dorian was going to hit out of my head. He may got the part on where it was going to hit Florida right, but he pointed out that it was going to hit Alabama. Technically that map was outdated and Hurricane Dorian didn’t hit Alabama, but he didn’t say that he was wrong. Instead he just circles on where the hurricane was going to hit with a white sharpie and had a proud look on his face saying “Look what I did, daddy. I’m smart”. He pretty much made the entire state of Alabama fall into a panic.
He was so proud of himself that he phone called his best friend Putin about it. I swear that Putin has something on him and the reason why he wanted Trump to win is so that he can get Trump to do whatever he wants. Trump is basically Putin’s b*ch.
Plus Putin rewrote the Russian constitution which Trump doesn’t even seem to care about America’s own constitution at all. Even his own party members don’t care about it. They seem to care about the 2nd amendment more and it’s a dying shame that all of them will be voted out of office when 2020 hits. Can’t wait for it.
Unfortunately, when there’s a new president, there’s going to be a lot to fix since no one trusts America anymore since Trump ruined everything especially getting out of that deal with Iran. That had to be the most dumbest thing that he’s ever done. Big mistake, Trump.
All he did was claim that Obama gave them money? No he didn’t. The agreement was to see what America was giving to Iran along with unfreezing their money just so they feed their people. But no, blame everything on Obama because why not.
Honestly the current Republican party blame things that happened on former presidents and the Democrats. People also say that the Democrats have gone way too far onto the left, but here’s the thing, the Republicans were the party that actually had the balls of steel, but now they’ve gone completely off the rails allowing their own president to break the constitution just get information on a political rival from a foreign leader which is a violation and illegal. Do the Republicans seem to care about rules being broken? Of course not. What are these people on exactly? Dope? I would sure love to have some of that just so I won’t have to deal with crap.
Most of my year end reviews on what Trump did is hard. Why? It’s because he doesn’t know when to keep his mouth shut. Again, why is there people out there who support this man? He’s a crook. You might argue with me that he’s a businessman. And? You’re point is? Listen, how can he be a businessman when filed for bankruptcy several times? That’s not a good businessman, that’s a bad one. When are you people going to get that through your thick skulls?
Can you imagine if it were Obama doing the crap that Trump had some so far? Oh god, the Republicans would have his head. The Republicans now? Nah, they don’t want to bother since they don’t want to lose their power. Ahh….that’s too bad, you’re going to be losing that during the senate trail next year.
Speaking of Alabama, they were the first state to pass an anti abortion law, but guess what? Women don’t know if their pregnant in six weeks so why bother. Oh wait, I keep forgetting that the American government is being run by old white men that like taking a giant step back in time where woman didn’t have any rights. Back in the 1960s, doctors wouldn’t tell women about their health but only told it to their husbands. Yeah that’s right, women weren’t treated as as people and it was pretty messed up. Now a few decades before that time period, women couldn’t walk around unless they were with their husbands. Can you imagine that being written in law in this current time period? It would be f**ked up even though it was back then and it still exist in other countries to this day. What’s even worse is that women weren’t taught how to read or weren’t sent to school. That was centuries ago mind you.
2020 is going to be the start of whole new decade. The 2010s weren’t that bad, but it was till the near end were it got bad. 2020 is going to be the year of adios Trump.
Anyway, this has been Lbat1901 reporting last time in 2019. See you in 2020.
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ramajmedia · 5 years
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WoW Classic: The Best Addons That Players Need | Screen Rant
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The best WoW Classic addons are a different animal when compared to the rest of the features players will encounter in their time-traveling trip back to Azeroth's humble beginnings. While other features, like class mechanics or quest design, are ripped straight from 2006, addons are user-designed complements to the base game that are meant to improve the player experience in some fashion. As such, they're up-to-date - some of them are new spins on old favorites, but they're all developed using modern day tech.
That's already a little controversial. WoW Classic addons fundamentally change the game in some pretty meaningful ways. Even making questing easier goes against the philosophy of WoW Classic, which is to preserve a moment in time and accept its shortcomings. For that reason, WoW Classic addons don't come recommended as a necessity, nor are they required to improve the experience of the game. At its core, WoW Classic succeeds as a mirror back into a time that has long since passed, and anyone wishing to relive that will likely find the challenges that some of these addons eliminate as part of the game's appeal.
Related: WoW Classic Guide: Which Class & Race Combos Work Best?
With that said, not everyone wants to fully relive the vanilla WoW experience right down to the brutal UI and unforgiving quest routing. For those players, the best WoW Classic addons are the ones that help mitigate some of the design decisions that modern MMORPGs definitely don't revisit in 2019. Here's our list of the best WoW Classic addons available to players after the game's launch.
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The best way to download and install WoW Classic addons is to use the Twitch App's built-in support for the game, which allows players to manage their downloaded addons and acquire more. It even has a built-in search function that will help players find if there's something that suits exactly what they want.
For those who don't want to use the Twitch App, players must first download an addon from one of the usual libraries - CurseForge is the one we'd recommend - and then extract that addon into their WoW Classic folder. It's usually under the Interface sub-folder labeled as "AddOns", but that folder won't appear if a player hasn't accessed the WoW Classic client on their computer yet. If this extract is successful, the player will get a new button on their character screen just above the "Menu" button that is labeled "AddOns" and will display all the ones that have been successfully installed when clicked.
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Leatrix - Leatrix is meant to enhance the user interface's default settings. Players can set up some seriously helpful script, such as automatically selling the gray items they pick up - commonly referred to as "vendor trash" by veterans. Other incredible features include being able to auto-accept, select, or turn-in quests without having to navigate the in-game menus (a useful tool for veterans who've been through it all before and want to hit end-game fast) and auto-accept resurrection requests, minimizing the amount of downtime and maximizing the amount of time players can spend spamming party chat with 2006 memes while they're down.
WeakAuras2 Classic - Players get more control with this WoW Classic addon, which allows them to create auras to track different elements of the game that the default UI doesn't. Players also have the option of importing other players' auras by visiting archive sites for them.
MapCoords Classic - A simple WoW Classic addon that is designed with one goal in mind - to add coordinates to both the map and minimap, allowing players to easily reference their own position and also provide other players with their location in an exact method.
Vendor Price - Another simple WoW Classic addon that will simply display the price an item sells for to vendors in its tooltip.
AtlasLootClassic - An addon that allows players to check all loot tables from WoW Classic. This is especially useful for players looking to improve their gear, as it lets them know which dungeons it can be found in and to plan accordingly.
OmniCC - This WoW Classic addon adds a timer over a player's cooldown abilities. This lets players know exactly when key abilities will come back up, allowing them to time their use perfectly. This is useful for basically any class, too. DPS will want to use this to maximize their ability to damage bosses or other players, while healers will need to know when their most clutch heals are available to be able to time them right and not waste time. For tanks, crowd control and aggro management will always be crucial, and OmniCC helps smooth out rotations and help on-the-fly planning when things inevitably go south.
HealComm - A vital addon for healers who are working the end-game of WoW Classic and attempting to work as part of a multi-healer team. HealComm broadcasts when other healers are using their spells and who they're using them on. An entire team of healers with HealComm will avoid the tragic - and sometimes wipe-inducing - use of multiple different heal spells on a target that only needs one, and for that reason, it's an easy pick-up for anyone looking to up their game and reduce their frustration.
BigWigsBoss mods - Another simple addon that is nevertheless one of the best available to WoW Classic raiders. This addon introduces timers and notifications for boss mechanics in dungeons, ensuring that players who are unfamiliar with end-game mechanics won't get completely wiped out by them as they're learning. This even applies to dungeons over the leveling experience, which can help expedite the grind to level 60.
Deadly Boss Mods - Classic - Another modification that adds timers and notifications to boss fights. Deadly Boss Mods is one of the most popular iterations of addons in current WoW, and it has a loyal following for a reason - the quality is always there and it's been reliable over a span of many years.
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Questie - By far one of the most useful WoW Classic addons across the entire list, Questie dramatically upgrades the questing experience. It adds many of the quality of life improvements that Blizzard itself would later add to WoW in subsequent expansions and updates. Ultimately, this is the most impactful WoW Classic addon in the game - it's the one that makes the 2006 version of the game closest to the current version of WoW, and it saves the most time for players during the leveling process. It comes highly recommended, but it's also the WoW Classic addon that distances it the most from its intended appearance and functionality, so people looking to preserve their experience as closely to the 2006 version of Azeroth as possible will want to give this one a pass.
Next: WoW Classic: Professions Guide
source https://screenrant.com/wow-classic-addons-best-need/
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ladylilia87 · 4 years
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Return of the Obra Dinn, Pathologic 2, The Void, Shenmue 1-3, +Others
Hello, 
Four high game recommendations, followed by several other (slightly) lower recommendations:
Return of the Obra Dinn (2018) - It is a mystery game. It is set on a ship. It includes a magic stopwatch. The protagonist is an insurance assessor. Need I say more? Oh, and it is on GOG. I would not dream of saying anything else for fear of delivering spoilers, except to add that this is the best sleuthing game around, and having a notebook on hand (or a very attentive stream audience) would not be a bad idea. I cannot recommend this game highly enough.
Pathologic 2 (2019) - Crazy, weird, brutal, memorable, unique. Playing the original beforehand is not necessary; I would in fact recommend playing the original game after playing the sequel. Not a lot of cheese in this one, but it all kinds of spooky, and memorable. Available on GOG.
The Void (2008) - An intriguing game with a neat gameplay mechanic of "drawing" on the screen with the mouse in order to -- well, do any number of things that should not be spoiled. Like Pathologic 2, this is a unique game. It feels like a dark fairytale (compared to Pathologic 2's dark folktale). Available on GOG.
Shenmue 1, 2, and 3 (Various) - I highly recommend the three games mentioned above (Return of the Obra Dinn, Pathologic 2, The Void). However, I say that any one of them is what you would call "cheesy," at least not in any traditional sense. They have some goofy elements, sure, but they play it pretty straight. The Shenmue series, however, is gaming cheese of the very highest order. The games are in equal measure janky, archaic, stilted, frustrating, beguiling, hammy, charming, engaging, and ultimately kind of beautiful. Not for everybody, which is to say they may just be for you! If you are looking for some old school cheese (and the rather humble and low-key beginnings of open world gaming), you could do a heckuva lot worse than Shenmue. The games are available on STEAM.
On to the other recommendations:
F.E.A.R. 1-3 (Various) - The original F.E.A.R. is an easy recommend. One of the best games of the past 20 years. F.E.A.R. 2 and F.E.A.R. 3 are not good, but the cheese is strong with them. Available on GOG and STEAM.
Total Chaos: The Director's Cut (2019) - A spooky total conversion of GZDoom (a source port of DOOM and DOOM 2) churned out as survival horror. It's free to play! Available at moddb.com. 
The Glass Staircase (2019) - Amazing PS2-styled horror game, available at itch.io. The developer of this game, Puppet Combo, is just terrific. All their (his? her?) games are worth checking out, this just happens to be the best one yet. Available at itch.io. Check it out! Support the indie developer! (If you try this game and like it, I would also recommend Night of the Nun and Paratropic, both available at itch.io.)
Mirror's Edge (2010) - The best parkour-heavy cyberpunk game ever to feature a kickass protagonist named Grace? Uh, yeah, I think so! Awesome, short game. A VR version would probably give me a heart attack or three. Available at GOG.
The Shadowrun Games at GOG (Various) - Cool cyberpunk tactical RPGs with magic! And elves! And . . . magical elves! (Ob-vi-ous-ly!) Both Dragonfall and Hong Kong are worth checking out.
Risen (2009) - I mean, how have you NOT played this yet? This one Is totally right up your alley! Good RPG, memorable, a little silly (er, cheesy)! Available at GOG.
Tower of Time (2017) - Another great tactical RPG. Traversal through a buried tower. Memorable characters, story-rich. Available at GOG.
God Hand (2006, PS2) - The PlayStation 2 game, accept no substitute. Is God Hand the most ridiculous game ever made???!!!?!?! Maybe! Shenmue is cheesy, but THIS GAME! Wow! Talk about answering the call of the cheese! Cheese Hand? I don't know, and I don't even know if I really recommend this game -- but I totally recommend this game! Is it the greatest game? Is it the worst game? YES! just might be the correct response to BOTH those inquiries!
Warhammer: Vermintide Games (Various) - I think you could easily get into a lot of the Warhammer stuff that's out there. These games are a decent entry point into the tiniest slice of the Warhammer universe. Mostly, they're just good games. Fight those rats! On STEAM.
The Broken Sword Series at GOG (Various) - A legendary adventure game series, full of all manner of intrigues and boorish behavior. Available at GOG.
Cognition (2012) - Another adventure game, with even more intrigues and boorish behavior! Also at GOG.
That's probably more than enough recommends for one message.
Goodbye!
-Steven
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willreadforbooze · 5 years
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Hello fellow boozie readers!
Sam’s Update:
This week was pretty decent. I was trying so hard to finish some books for the start of Magical Readathon!! Which starts this week. Working hard to be a Metal Charmer.
What Sam finished this week:
The Defiant Heir by Melissa Caruso: I really enjoy this series and I’m so sad it doesn’t get any hype. I thought that it was a duology and that I’d be checking this series off my list, but alas, there’s a third book. Fortunately, it comes out this month! I’ll be drunk reviewing this so I don’t want to write too much here. Review for The Tethered Mage here.
Victory of Eagles by Naomi Novik: I adored this installment of Temeraire. We get to see a POV from Temeraire himself, and we get to see him grow and achieve his goals and WOW I just. And Lawrence, he had some baggage to work through and I think Novik did a fantastic job wit hit.
The Cruel Prince by Holly Black: So this is the book that Ginny and I listened to on our way to and from Mama’s.  This book is about a human girl who was raised in Fairyland with the Fae. She just wants to fit in but she’s constantly underestimated and bullied because she’s mortal. Political machinations and spycraft and other things happen, she’s just trying to live her life. Man. The ending to this book… I’m still like… she is so. dumb. SO DUMB.
What Sam’s reading now:
It’s O.W.L.s Magical Readathon bitches!!
Charms: A Brightness Long Ago by Guy Gavriel Kay: I am barely in to this one, but from what I can tell it’s a story about a coup. We began with the assassination of the brutal governor by a neighboring rival. I don’t think I’ve quite mastered the writing style yet, but I can tell you that I’m enjoying it. I’m also not sure who the main characters are so… more information to come.
Potions: Tongues of Serpents by Naomi Novik: This is the next installment of Temeraire. Do you see the pattern here? I am LOVING these. This book takes place in Australia. I’m audio-ing this one as I have with all the others and it’s good so far. Not as good as the previous but good.
Ginny’s Update:
Hi Everyone, hope you’re doing well.  I was sick last week (but still went to work because colds suck but not enough to take time off- especially once you’re passed the contagious stage) so I ended up canceling a bunch of plans and watching a lot of dumb tv… Hope you had a good week!
Currently Reading:
Mr. Hotshot CEO by Jackie Lau: Yeah, it’s another romance novel.  Look, I know what I’m about.  Julian Fong is being forced to take a vacation by his family, and needs help having fun.  Enter Courtney, who has never necessarily been considered the life of the party but knows how to enjoy the small things in life.  Julian asks Courtney to help him enjoy life and boy does she… The writing can be a little bit stilted at times (though that might just be the way the characters think/talk) but boy is it still fun.  
Tigana by Guy Gavriel Kay:  This is a book club book.  I’ve technically started reading but haven’t exactly gotten too far into it.  This book is a literal brick.  It is pretty big and more weight than I feel like carrying around (at least on the metro) so I’m gonna need some solid time at home to knock out some chunks of it.
How Long ‘Til Black Future Month by N.K. Jemisin: I got this as an audiobook, and I can’t do short story audiobooks.  I’ve heard the first two stories and they’re captivating, but I think I’m going to need to get a physical copy of this.
Completed this week:
Switch: How to Change Things When Change Is Hard by Chip and Dan Heath: This was kinda great. It was mostly a study in case studies, looking at why certain ideas are successful… and yeah I’ve definitely decided to use a few of these tips in my day to day life.  Still, if anyone is looking into making some life changes or just wants to feel a little bit hopeful about how change is possible this is a pretty good option.  4/5
The Cruel Prince by Holly Black:  I still hate some of the tropes in this book, but I very much enjoyed some of the twist and turns.  I’m not sure I’d end up continuing the series (there was a lot of telling rather than showing, and god was the main character dumb sometimes) but I would definitely want to get the sparknotes version.  3/5
The Year of the Crocodile by Courtney Milan: This was a really short extra story to go with the Trade Me book I read the other week.  Blake Reynolds and Tina Chen’s parents haven’t met yet because Blake’s dad is basically the founder of Apple and Tina’s parents were tortured by the Chinese regime.  This ended up being absolutely hysterical. Adam Reynolds is certainly a character and his thought process is so well mapped out that it is easy to understand why he thinks the way he does.  The verbal sparring between Tina’s Mom and Blake’s Dad was charming in the most asshole-way possible.  5/5
Minda’s Update:
Let’s go for Magical Readathon! Taking my O.W.Ls for my magical career path as a Librarian & I am so pumped.
What Minda is reading this week:
These Rebel Waves by Sara Raasch – This fills the Herbology O.W.L exam, which is not actually needed for my career but helps me earn an “Exceeds Expectations.” Risky move, but it’s the first due back to the library.
Uprooted by Naomi Novik – This has been on my tbr since reading Spinning Silver for book club and fulfills the Ancient Runes requirement. This was on a few lists as an awesome fairytale/retelling so sounds super promising.
Linz’s Update:
If you didn’t see our IG account, I was fostering a six week-old pupper all week, which is NOT conducive to getting my reading list done. I also hit a few books that I just couldn’t finish.
What Linz took a stab at but DNF:
The Resolutions by Mia Garcia – Four teen besties write each others’ New Year’s resolutions and try to follow them for a year. I dunno, this just wasn’t doing it for me. I felt like it took WAY too long to establish that all the characters are Latinx, it was REALLY hard trying to keep track of what time of year it was, the perfectionist’s storyline was super predictable, and there’s a character who works like, way too much in her mom’s restaurant and you’re telling me no one was dinging CPS at any point in her youth?
For a Muse of Fire by Heidi Heilig – A girl has powers over souls and also lives in a country with a lot of political and military turmoil. I actually tried reading The Girl From Everywhere before this, and I just couldn’t get into either book. I didn’t like how the worlds were built and couldn’t sink into them.
Black Wings Beating by Alex London – So, I’m an idiot because I definitely read the description about these bird-centric religious groups, and didn’t process it. I really liked where the book was going and like London’s writing, but I really really really do not like birds, and it was more bird-y than I could handle.
What Linz is reading:
Vita Nostra by Marina and Sergey Dyachenko – Sort of The Magicians but in Russia, and also Quentin is played by Sasha (a less intense Alice). It’s a weird book because it’s translated, so some stuff doesn’t quite work, and Sasha’s constant dread and confusion is a little heavy because the reader only gets as much knowledge as Sasha, but I’m gonna try to stick with it. 
On The Come Up by Angie Thomas – Do I need to summarize? I was just sure if you hadn’t been waitlisted for it, you’d already gotten a copy. The Hate U Give was a little heavy-handed but necessary, still relatable, and very readable, and I’m feeling things for this sophomore effort. (BTW my god if I’d only known of true heavy-handedness before I read The Hate U Give.) 
Tigana by Guy Gavriel Kay – Honestly I have no idea what this is about, because I kept trying to read it between the puppy’s naps, so I have to restart reading it this week.
 Until next time, we remain forever drunkenly yours,
Sam, Melinda, Linz, and Ginny
 Weekly Wrap-up: Mar 25-31, 2019 Hello fellow boozie readers! Sam's Update: This week was pretty decent. I was trying so hard to finish some books for the start of…
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thesnhuup · 5 years
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Pop Picks – March 28, 2019
March 28, 2019
What I’m listening to: 
There is a lovely piece played in a scene from A Place Called Home that I tracked down. It’s Erik Satie’s 3 Gymnopédies: Gymnopédie No. 1, played by the wonderful pianist Klára Körmendi. Satie composed this piece in 1888 and it was considered avant-garde and anti-Romantic. It’s minimalism and bit of dissonance sound fresh and contemporary to my ears and while not a huge Classical music fan, I’ve fallen in love with the Körmendi playlist on Spotify. When you need an alternative to hours of Cardi B.
 What I’m reading: 
Just finished Esi Edugyan’s 2018 novel Washington Black. Starting on a slave plantation in Barbados, it is a picaresque novel that has elements of Jules Verne, Moby Dick, Frankenstein, and Colson Whitehead’s Underground Railroad. Yes, it strains credulity and there are moments of “huh?”, but I loved it (disclosure: I was in the minority among my fellow book club members) and the first third is a searing depiction of slavery. It’s audacious, sprawling (from Barbados to the Arctic to London to Africa), and the writing, especially about nature, luminous. 
What I’m watching: 
A soap opera. Yes, I’d like to pretend it’s something else, but we are 31 episodes into the Australian drama A Place Called Home and we are so, so addicted. Like “It’s  AM, but can’t we watch just one more episode?” addicted. Despite all the secrets, cliff hangers, intrigue, and “did that just happen?” moments, the core ingredients of any good soap opera, APCH has superb acting, real heft in terms of subject matter (including homophobia, anti-Semitism, sexual assault, and class), touches of our beloved Downton Abbey, and great cars. Beware. If you start, you won’t stop.
Archive 
February 11, 2019
What I’m listening to:
Raphael Saadiq has been around for quite a while, as a musician, writer, and producer. He’s new to me and I love his old school R&B sound. Like Leon Bridges, he brings a contemporary freshness to the genre, sounding like a young Stevie Wonder (listen to “You’re The One That I Like”). Rock and Roll may be largely dead, but R&B persists – maybe because the former was derivative of the latter and never as good (and I say that as a Rock and Roll fan). I’m embarrassed to only have discovered Saadiq so late in his career, but it’s a delight to have done so.
What I’m reading:
Just finished Marilynne Robinson’s Home, part of her trilogy that includes the Pulitzer Prize winning first novel, Gilead, and the book after Home, Lila. Robinson is often described as a Christian writer, but not in a conventional sense. In this case, she gives us a modern version of the prodigal son and tells the story of what comes after he is welcomed back home. It’s not pretty. Robinson is a self-described Calvinist, thus character begets fate in Robinson’s world view and redemption is at best a question. There is something of Faulkner in her work (I am much taken with his famous “The past is never past” quote after a week in the deep South), her style is masterful, and like Faulkner, she builds with these three novels a whole universe in the small town of Gilead. Start with Gilead to better enjoy Home.
What I’m watching:
Sex Education was the most fun series we’ve seen in ages and we binged watched it on Netflix. A British homage to John Hughes films like The Breakfast Club, Ferris Bueller’s Day Off, and Pretty in Pink, it feels like a mash up of American and British high schools. Focusing on the relationship of Maeve, the smart bad girl, and Otis, the virginal and awkward son of a sex therapist (played with brilliance by Gillian Anderson), it is laugh aloud funny and also evolves into more substance and depth (the abortion episode is genius). The sex scenes are somehow raunchy and charming and inoffensive at the same time and while ostensibly about teenagers (it feels like it is explaining contemporary teens to adults in many ways), the adults are compelling in their good and bad ways. It has been renewed for a second season, which is a gift.
January 3, 2019
What I’m listening to:
My listening choices usually refer to music, but this time I’m going with Malcolm Gladwell’s Revisionist History podcast on genius and the song Hallelujah. It tells the story of Leonard Cohen’s much-covered song Hallelujah and uses it as a lens on kinds of genius and creativity. Along the way, he brings in Picasso and Cézanne, Elvis Costello, and more. Gladwell is a good storyteller and if you love pop music, as I do, and Hallelujah, as I do (and you should), you’ll enjoy this podcast. We tend to celebrate the genius who seems inspired in the moment, creating new work like lightning strikes, but this podcast has me appreciating incremental creativity in a new way. It’s compelling and fun at the same time.
What I’m reading:
Just read Clay Christensen’s new book, The Prosperity Paradox: How Innovation Can Lift Nations Out of Poverty. This was an advance copy, so soon available. Clay is an old friend and a huge influence on how we have grown SNHU and our approach to innovation. This book is so compelling, because we know attempts at development have so often been a failure and it is often puzzling to understand why some countries with desperate poverty and huge challenges somehow come to thrive (think S. Korea, Singapore, 19th C. America), while others languish. Clay offers a fresh way of thinking about development through the lens of his research on innovation and it is compelling. I bet this book gets a lot of attention, as most of his work does. I also suspect that many in the development community will hate it, as it calls into question the approach and enormous investments we have made in an attempt to lift countries out of poverty. A provocative read and, as always, Clay is a good storyteller.
What I’m watching:
Just watched Leave No Trace and should have guessed that it was directed by Debra Granik. She did Winter’s Bone, the extraordinary movie that launched Jennifer Lawrence’s career. Similarly, this movie features an amazing young actor, Thomasin McKenzie, and visits lives lived on the margins. In this case, a veteran suffering PTSD, and his 13-year-old daughter. The movie is patient, is visually lush, and justly earned 100% on Rotten Tomatoes (I have a rule to never watch anything under 82%). Everything in this film is under control and beautifully understated (aside from the visuals) – confident acting, confident directing, and so humane. I love the lack of flashbacks, the lack of sensationalism – the movie trusts the viewer, rare in this age of bombast. A lovely film.
December 4, 2018
What I’m listening to:
Spending a week in New Zealand, we had endless laughs listening to the Kiwi band, Flight of the Conchords. Lots of comedic bands are funny, but the music is only okay or worse. These guys are funny – hysterical really – and the music is great. They have an uncanny ability to parody almost any style. In both New Zealand and Australia, we found a wry sense of humor that was just delightful and no better captured than with this duo. You don’t have to be in New Zealand to enjoy them.
What I’m reading:
I don’t often reread. For two reasons: A) I have so many books on my “still to be read” pile that it seems daunting to also rereadbooks I loved before, and B) it’s because I loved them once that I’m a little afraid to read them again. That said, I was recently asked to list my favorite book of all time and I answered Leo Tolstoy’s Anna Karenina. But I don’t really know if that’s still true (and it’s an impossible question anyway – favorite book? On what day? In what mood?), so I’m rereading it and it feels like being with an old friend. It has one of my very favorite scenes ever: the card game between Levin and Kitty that leads to the proposal and his joyous walking the streets all night.
What I’m watching:
Blindspotting is billed as a buddy-comedy. Wow does that undersell it and the drama is often gripping. I loved Daveed Diggs in Hamilton, didn’t like his character in Black-ish, and think he is transcendent in this film he co-wrote with Rafael Casal, his co-star.  The film is a love song to Oakland in many ways, but also a gut-wrenching indictment of police brutality, systemic racism and bias, and gentrification. The film has the freshness and raw visceral impact of Spike Lee’s Do the Right Thing. A great soundtrack, genre mixing, and energy make it one of my favorite movies of 2018.
October 15, 2018 
What I’m listening to:
We had the opportunity to see our favorite band, The National, live in Dallas two weeks ago. Just after watching Mistaken for Strangers, the documentary sort of about the band. So we’ve spent a lot of time going back into their earlier work, listening to songs we don’t know well, and reaffirming that their musicality, smarts, and sound are both original and astoundingly good. They did not disappoint in concert and it is a good thing their tour ended, as we might just spend all of our time and money following them around. Matt Berninger is a genius and his lead vocals kill me (and because they are in my range, I can actually sing along!). Their arrangements are profoundly good and go right to whatever brain/heart wiring that pulls one in and doesn’t let them go.
What I’m reading:
Who is Richard Powers and why have I only discovered him now, with his 12th book? Overstory is profoundly good, a book that is essential and powerful and makes me look at my everyday world in new ways. In short, a dizzying example of how powerful can be narrative in the hands of a master storyteller. I hesitate to say it’s the best environmental novel I’ve ever read (it is), because that would put this book in a category. It is surely about the natural world, but it is as much about we humans. It’s monumental and elegiac and wondrous at all once. Cancel your day’s schedule and read it now. Then plant a tree. A lot of them.
What I’m watching:
Bo Burnham wrote and directed Eighth Grade and Elsie Fisher is nothing less than amazing as its star (what’s with these new child actors; see Florida Project). It’s funny and painful and touching. It’s also the single best film treatment that I have seen of what it means to grow up in a social media shaped world. It’s a reminder that growing up is hard. Maybe harder now in a world of relentless, layered digital pressure to curate perfect lives that are far removed from the natural messy worlds and selves we actually inhabit. It’s a well-deserved 98% on Rotten Tomatoes and I wonder who dinged it for the missing 2%.
September 7, 2018
What I’m listening to:
With a cover pointing back to the Beastie Boys’ 1986 Licensed to Ill, Eminem’s quietly released Kamikaze is not my usual taste, but I’ve always admired him for his “all out there” willingness to be personal, to call people out, and his sheer genius with language. I thought Daveed Diggs could rap fast, but Eminem is supersonic at moments, and still finds room for melody. Love that he includes Joyner Lucas, whose “I’m Not Racist” gets added to the growing list of simply amazing music videos commenting on race in America. There are endless reasons why I am the least likely Eminem fan, but when no one is around to make fun of me, I’ll put it on again.
What I’m reading:
Lesley Blume’s Everyone Behaves Badly, which is the story behind Hemingway’s The Sun Also Rises and his time in 1920s Paris (oh, what a time – see Midnight in Paris if you haven’t already). Of course, Blume disabuses my romantic ideas of that time and place and everyone is sort of (or profoundly so) a jerk, especially…no spoiler here…Hemingway. That said, it is a compelling read and coming off the Henry James inspired prose of Mrs. Osmond, it made me appreciate more how groundbreaking was Hemingway’s modern prose style. Like his contemporary Picasso, he reinvented the art and it can be easy to forget, these decades later, how profound was the change and its impact. And it has bullfights.
What I’m watching:
Chloé Zhao’s The Rider is just exceptional. It’s filmed on the Pine Ridge Reservation, which provides a stunning landscape, and it feels like a classic western reinvented for our times. The main characters are played by the real-life people who inspired this narrative (but feels like a documentary) film. Brady Jandreau, playing himself really, owns the screen. It’s about manhood, honor codes, loss, and resilience – rendered in sensitive, nuanced, and heartfelt ways. It feels like it could be about large swaths of America today. Really powerful.
August 16, 2018
What I’m listening to:
In my Spotify Daily Mix was Percy Sledge’s When A Man Loves A Woman, one of the world’s greatest love songs. Go online and read the story of how the song was discovered and recorded. There are competing accounts, but Sledge said he improvised it after a bad breakup. It has that kind of aching spontaneity. It is another hit from Muscle Shoals, Alabama, one of the GREAT music hotbeds, along with Detroit, Nashville, and Memphis. Our February Board meeting is in Alabama and I may finally have to do the pilgrimage road trip to Muscle Shoals and then Memphis, dropping in for Sunday services at the church where Rev. Al Green still preaches and sings. If the music is all like this, I will be saved.
What I’m reading:
John Banville’s Mrs. Osmond, his homage to literary idol Henry James and an imagined sequel to James’ 1881 masterpiece Portrait of a Lady. Go online and read the first paragraph of Chapter 25. He is…profoundly good. Makes me want to never write again, since anything I attempt will feel like some other, lowly activity in comparison to his mastery of language, image, syntax. This is slow reading, every sentence to be savored.
What I’m watching:
I’ve always respected Supreme Court Justice Ruth Bader Ginsburg, but we just watched the documentary RGB. It is over-the-top great and she is now one of my heroes. A superwoman in many ways and the documentary is really well done. There are lots of scenes of her speaking to crowds and the way young women, especially law students, look at her is touching.  And you can’t help but fall in love with her now late husband Marty. See this movie and be reminded of how important is the Law.
July 23, 2018
What I’m listening to:
Spotify’s Summer Acoustic playlist has been on repeat quite a lot. What a fun way to listen to artists new to me, including The Paper Kites, Hollow Coves, and Fleet Foxes, as well as old favorites like Leon Bridges and Jose Gonzalez. Pretty chill when dialing back to a summer pace, dining on the screen porch or reading a book.
What I’m reading:
Bryan Stevenson’s Just Mercy. Founder of the Equal Justice Initiative, Stevenson tells of the racial injustice (and the war on the poor our judicial system perpetuates as well) that he discovered as a young graduate from Harvard Law School and his fight to address it. It is in turn heartbreaking, enraging, and inspiring. It is also about mercy and empathy and justice that reads like a novel. Brilliant.
What I’m watching:
Fauda. We watched season one of this Israeli thriller. It was much discussed in Israel because while it focuses on an ex-special agent who comes out of retirement to track down a Palestinian terrorist, it was willing to reveal the complexity, richness, and emotions of Palestinian lives. And the occasional brutality of the Israelis. Pretty controversial stuff in Israel. Lior Raz plays Doron, the main character, and is compelling and tough and often hard to like. He’s a mess. As is the world in which he has to operate. We really liked it, and also felt guilty because while it may have been brave in its treatment of Palestinians within the Israeli context, it falls back into some tired tropes and ultimately falls short on this front.
June 11, 2018
What I’m listening to:
Like everyone else, I’m listening to Pusha T drop the mic on Drake. Okay, not really, but do I get some points for even knowing that? We all walk around with songs that immediately bring us back to a time or a place. Songs are time machines. We are coming up on Father’s Day. My own dad passed away on Father’s Day back in 1994 and I remembering dutifully getting through the wake and funeral and being strong throughout. Then, sitting alone in our kitchen, Don Henley’s The End of the Innocence came on and I lost it. When you lose a parent for the first time (most of us have two after all) we lose our innocence and in that passage, we suddenly feel adult in a new way (no matter how old we are), a longing for our own childhood, and a need to forgive and be forgiven. Listen to the lyrics and you’ll understand. As Wordsworth reminds us in In Memoriam, there are seasons to our grief and, all these years later, this song no longer hits me in the gut, but does transport me back with loving memories of my father. I’ll play it Father’s Day.
What I’m reading:
The Fifth Season, by N. K. Jemisin. I am not a reader of fantasy or sci-fi, though I understand they can be powerful vehicles for addressing the very real challenges of the world in which we actually live. I’m not sure I know of a more vivid and gripping illustration of that fact than N. K. Jemisin’s Hugo Award winning novel The Fifth Season, first in her Broken Earth trilogy. It is astounding. It is the fantasy parallel to The Underground Railroad, my favorite recent read, a depiction of subjugation, power, casual violence, and a broken world in which our hero(s) struggle, suffer mightily, and still, somehow, give us hope. It is a tour de force book. How can someone be this good a writer? The first 30 pages pained me (always with this genre, one must learn a new, constructed world, and all of its operating physics and systems of order), and then I could not put it down. I panicked as I neared the end, not wanting to finish the book, and quickly ordered the Obelisk Gate, the second novel in the trilogy, and I can tell you now that I’ll be spending some goodly portion of my weekend in Jemisin’s other world.
What I’m watching:
The NBA Finals and perhaps the best basketball player of this generation. I’ve come to deeply respect LeBron James as a person, a force for social good, and now as an extraordinary player at the peak of his powers. His superhuman play during the NBA playoffs now ranks with the all-time greats, Larry Bird, Magic Johnson, MJ, Kobe, and the demi-god that was Bill Russell. That his Cavs lost in a 4-game sweep is no surprise. It was a mediocre team being carried on the wide shoulders of James (and matched against one of the greatest teams ever, the Warriors, and the Harry Potter of basketball, Steph Curry) and, in some strange way, his greatness is amplified by the contrast with the rest of his team. It was a great run.
May 24, 2018
What I’m listening to:
I’ve always liked Alicia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.
What I’m reading:
Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia.  It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.
What I’m watching:
I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.
April 27, 2018
What I’m listening to:
I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan.  Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.
What I’m reading:
I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,” accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.
What I’m watching:
I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.
March 18, 2018
What I’m listening to:
Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.
What I’m reading:
Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.
What I’m watching:
Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news. 
March 8, 2018
What I’m listening to:
We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.
What I’m reading:
Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.
What I’m watching:
The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.
February 12, 2018
What I’m listening to:
So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.
What I’m reading:
I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.
What I’m watching:
We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.
January 15, 2018
What I’m listening to:
Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.
What I’m reading:
A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.
What I’m watching:
David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.
December 22, 2017
What I’m reading:
Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.
What I’m watching:
Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.
What I’m listening to:
A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.
November 14, 2017
What I’m watching:
Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?
What I’m reading:
Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.
What I’m listening to:
Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.
November 3, 2017
What I’m reading: Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.
What I’m watching: We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.
What I’m listening to: I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.
September 26, 2017
What I’m reading:
Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.
What I’m watching:
HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.
What I’m listening to:
The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.
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Pop Picks – February 11, 2019
February 11, 2019
What I’m listening to:
Raphael Saadiq has been around for quite a while, as a musician, writer, and producer. He’s new to me and I love his old school R&B sound. Like Leon Bridges, he brings a contemporary freshness to the genre, sounding like a young Stevie Wonder (listen to “You’re The One That I Like”). Rock and Roll may be largely dead, but R&B persists – maybe because the former was derivative of the latter and never as good (and I say that as a Rock and Roll fan). I’m embarrassed to only have discovered Saadiq so late in his career, but it’s a delight to have done so.
What I’m reading:
Just finished Marilynne Robinson’s Home, part of her trilogy that includes the Pulitzer Prize winning first novel, Gilead, and the book after Home, Lila. Robinson is often described as a Christian writer, but not in a conventional sense. In this case, she gives us a modern version of the prodigal son and tells the story of what comes after he is welcomed back home. It’s not pretty. Robinson is a self-described Calvinist, thus character begets fate in Robinson’s world view and redemption is at best a question. There is something of Faulkner in her work (I am much taken with his famous “The past is never past” quote after a week in the deep South), her style is masterful, and like Faulkner, she builds with these three novels a whole universe in the small town of Gilead. Start with Gilead to better enjoy Home.
What I’m watching:
Sex Education was the most fun series we’ve seen in ages and we binged watched it on Netflix. A British homage to John Hughes films like The Breakfast Club, Ferris Bueller’s Day Off, and Pretty in Pink, it feels like a mash up of American and British high schools. Focusing on the relationship of Maeve, the smart bad girl, and Otis, the virginal and awkward son of a sex therapist (played with brilliance by Gillian Anderson), it is laugh aloud funny and also evolves into more substance and depth (the abortion episode is genius). The sex scenes are somehow raunchy and charming and inoffensive at the same time and while ostensibly about teenagers (it feels like it is explaining contemporary teens to adults in many ways), the adults are compelling in their good and bad ways. It has been renewed for a second season, which is a gift.
Archive
January 3, 2019
What I’m listening to:
My listening choices usually refer to music, but this time I’m going with Malcolm Gladwell’s Revisionist History podcast on genius and the song Hallelujah. It tells the story of Leonard Cohen’s much-covered song Hallelujah and uses it as a lens on kinds of genius and creativity. Along the way, he brings in Picasso and Cézanne, Elvis Costello, and more. Gladwell is a good storyteller and if you love pop music, as I do, and Hallelujah, as I do (and you should), you’ll enjoy this podcast. We tend to celebrate the genius who seems inspired in the moment, creating new work like lightning strikes, but this podcast has me appreciating incremental creativity in a new way. It’s compelling and fun at the same time.
What I’m reading:
Just read Clay Christensen’s new book, The Prosperity Paradox: How Innovation Can Lift Nations Out of Poverty. This was an advance copy, so soon available. Clay is an old friend and a huge influence on how we have grown SNHU and our approach to innovation. This book is so compelling, because we know attempts at development have so often been a failure and it is often puzzling to understand why some countries with desperate poverty and huge challenges somehow come to thrive (think S. Korea, Singapore, 19th C. America), while others languish. Clay offers a fresh way of thinking about development through the lens of his research on innovation and it is compelling. I bet this book gets a lot of attention, as most of his work does. I also suspect that many in the development community will hate it, as it calls into question the approach and enormous investments we have made in an attempt to lift countries out of poverty. A provocative read and, as always, Clay is a good storyteller.
What I’m watching:
Just watched Leave No Trace and should have guessed that it was directed by Debra Granik. She did Winter’s Bone, the extraordinary movie that launched Jennifer Lawrence’s career. Similarly, this movie features an amazing young actor, Thomasin McKenzie, and visits lives lived on the margins. In this case, a veteran suffering PTSD, and his 13-year-old daughter. The movie is patient, is visually lush, and justly earned 100% on Rotten Tomatoes (I have a rule to never watch anything under 82%). Everything in this film is under control and beautifully understated (aside from the visuals) – confident acting, confident directing, and so humane. I love the lack of flashbacks, the lack of sensationalism – the movie trusts the viewer, rare in this age of bombast. A lovely film.
December 4, 2018
What I’m listening to:
Spending a week in New Zealand, we had endless laughs listening to the Kiwi band, Flight of the Conchords. Lots of comedic bands are funny, but the music is only okay or worse. These guys are funny – hysterical really – and the music is great. They have an uncanny ability to parody almost any style. In both New Zealand and Australia, we found a wry sense of humor that was just delightful and no better captured than with this duo. You don’t have to be in New Zealand to enjoy them.
What I’m reading:
I don’t often reread. For two reasons: A) I have so many books on my “still to be read” pile that it seems daunting to also reread books I loved before, and B) it’s because I loved them once that I’m a little afraid to read them again. That said, I was recently asked to list my favorite book of all time and I answered Leo Tolstoy’s Anna Karenina. But I don’t really know if that’s still true (and it’s an impossible question anyway – favorite book? On what day? In what mood?), so I’m rereading it and it feels like being with an old friend. It has one of my very favorite scenes ever: the card game between Levin and Kitty that leads to the proposal and his joyous walking the streets all night.
What I’m watching:
Blindspotting is billed as a buddy-comedy. Wow does that undersell it and the drama is often gripping. I loved Daveed Diggs in Hamilton, didn’t like his character in Black-ish, and think he is transcendent in this film he co-wrote with Rafael Casal, his co-star.  The film is a love song to Oakland in many ways, but also a gut-wrenching indictment of police brutality, systemic racism and bias, and gentrification. The film has the freshness and raw visceral impact of Spike Lee’s Do the Right Thing. A great soundtrack, genre mixing, and energy make it one of my favorite movies of 2018.
October 15, 2018
What I’m listening to:
We had the opportunity to see our favorite band, The National, live in Dallas two weeks ago. Just after watching Mistaken for Strangers, the documentary sort of about the band. So we’ve spent a lot of time going back into their earlier work, listening to songs we don’t know well, and reaffirming that their musicality, smarts, and sound are both original and astoundingly good. They did not disappoint in concert and it is a good thing their tour ended, as we might just spend all of our time and money following them around. Matt Berninger is a genius and his lead vocals kill me (and because they are in my range, I can actually sing along!). Their arrangements are profoundly good and go right to whatever brain/heart wiring that pulls one in and doesn’t let them go.
What I’m reading:
Who is Richard Powers and why have I only discovered him now, with his 12th book? Overstory is profoundly good, a book that is essential and powerful and makes me look at my everyday world in new ways. In short, a dizzying example of how powerful can be narrative in the hands of a master storyteller. I hesitate to say it’s the best environmental novel I’ve ever read (it is), because that would put this book in a category. It is surely about the natural world, but it is as much about we humans. It’s monumental and elegiac and wondrous at all once. Cancel your day’s schedule and read it now. Then plant a tree. A lot of them.
What I’m watching:
Bo Burnham wrote and directed Eighth Grade and Elsie Fisher is nothing less than amazing as its star (what’s with these new child actors; see Florida Project). It’s funny and painful and touching. It’s also the single best film treatment that I have seen of what it means to grow up in a social media shaped world. It’s a reminder that growing up is hard. Maybe harder now in a world of relentless, layered digital pressure to curate perfect lives that are far removed from the natural messy worlds and selves we actually inhabit. It’s a well-deserved 98% on Rotten Tomatoes and I wonder who dinged it for the missing 2%.
September 7, 2018
What I’m listening to:
With a cover pointing back to the Beastie Boys’ 1986 Licensed to Ill, Eminem’s quietly released Kamikaze is not my usual taste, but I’ve always admired him for his “all out there” willingness to be personal, to call people out, and his sheer genius with language. I thought Daveed Diggs could rap fast, but Eminem is supersonic at moments, and still finds room for melody. Love that he includes Joyner Lucas, whose “I’m Not Racist” gets added to the growing list of simply amazing music videos commenting on race in America. There are endless reasons why I am the least likely Eminem fan, but when no one is around to make fun of me, I’ll put it on again.
What I’m reading:
Lesley Blume’s Everyone Behaves Badly, which is the story behind Hemingway’s The Sun Also Rises and his time in 1920s Paris (oh, what a time – see Midnight in Paris if you haven’t already). Of course, Blume disabuses my romantic ideas of that time and place and everyone is sort of (or profoundly so) a jerk, especially…no spoiler here…Hemingway. That said, it is a compelling read and coming off the Henry James inspired prose of Mrs. Osmond, it made me appreciate more how groundbreaking was Hemingway’s modern prose style. Like his contemporary Picasso, he reinvented the art and it can be easy to forget, these decades later, how profound was the change and its impact. And it has bullfights.
What I’m watching:
Chloé Zhao’s The Rider is just exceptional. It’s filmed on the Pine Ridge Reservation, which provides a stunning landscape, and it feels like a classic western reinvented for our times. The main characters are played by the real-life people who inspired this narrative (but feels like a documentary) film. Brady Jandreau, playing himself really, owns the screen. It’s about manhood, honor codes, loss, and resilience – rendered in sensitive, nuanced, and heartfelt ways. It feels like it could be about large swaths of America today. Really powerful.
August 16, 2018
What I’m listening to:
In my Spotify Daily Mix was Percy Sledge’s When A Man Loves A Woman, one of the world’s greatest love songs. Go online and read the story of how the song was discovered and recorded. There are competing accounts, but Sledge said he improvised it after a bad breakup. It has that kind of aching spontaneity. It is another hit from Muscle Shoals, Alabama, one of the GREAT music hotbeds, along with Detroit, Nashville, and Memphis. Our February Board meeting is in Alabama and I may finally have to do the pilgrimage road trip to Muscle Shoals and then Memphis, dropping in for Sunday services at the church where Rev. Al Green still preaches and sings. If the music is all like this, I will be saved.
What I’m reading:
John Banville’s Mrs. Osmond, his homage to literary idol Henry James and an imagined sequel to James’ 1881 masterpiece Portrait of a Lady. Go online and read the first paragraph of Chapter 25. He is…profoundly good. Makes me want to never write again, since anything I attempt will feel like some other, lowly activity in comparison to his mastery of language, image, syntax. This is slow reading, every sentence to be savored.
What I’m watching:
I’ve always respected Supreme Court Justice Ruth Bader Ginsburg, but we just watched the documentary RGB. It is over-the-top great and she is now one of my heroes. A superwoman in many ways and the documentary is really well done. There are lots of scenes of her speaking to crowds and the way young women, especially law students, look at her is touching.  And you can’t help but fall in love with her now late husband Marty. See this movie and be reminded of how important is the Law.
July 23, 2018
What I’m listening to:
Spotify’s Summer Acoustic playlist has been on repeat quite a lot. What a fun way to listen to artists new to me, including The Paper Kites, Hollow Coves, and Fleet Foxes, as well as old favorites like Leon Bridges and Jose Gonzalez. Pretty chill when dialing back to a summer pace, dining on the screen porch or reading a book.
What I’m reading:
Bryan Stevenson’s Just Mercy. Founder of the Equal Justice Initiative, Stevenson tells of the racial injustice (and the war on the poor our judicial system perpetuates as well) that he discovered as a young graduate from Harvard Law School and his fight to address it. It is in turn heartbreaking, enraging, and inspiring. It is also about mercy and empathy and justice that reads like a novel. Brilliant.
What I’m watching:
Fauda. We watched season one of this Israeli thriller. It was much discussed in Israel because while it focuses on an ex-special agent who comes out of retirement to track down a Palestinian terrorist, it was willing to reveal the complexity, richness, and emotions of Palestinian lives. And the occasional brutality of the Israelis. Pretty controversial stuff in Israel. Lior Raz plays Doron, the main character, and is compelling and tough and often hard to like. He’s a mess. As is the world in which he has to operate. We really liked it, and also felt guilty because while it may have been brave in its treatment of Palestinians within the Israeli context, it falls back into some tired tropes and ultimately falls short on this front.
June 11, 2018
What I’m listening to:
Like everyone else, I’m listening to Pusha T drop the mic on Drake. Okay, not really, but do I get some points for even knowing that? We all walk around with songs that immediately bring us back to a time or a place. Songs are time machines. We are coming up on Father’s Day. My own dad passed away on Father’s Day back in 1994 and I remembering dutifully getting through the wake and funeral and being strong throughout. Then, sitting alone in our kitchen, Don Henley’s The End of the Innocence came on and I lost it. When you lose a parent for the first time (most of us have two after all) we lose our innocence and in that passage, we suddenly feel adult in a new way (no matter how old we are), a longing for our own childhood, and a need to forgive and be forgiven. Listen to the lyrics and you’ll understand. As Wordsworth reminds us in In Memoriam, there are seasons to our grief and, all these years later, this song no longer hits me in the gut, but does transport me back with loving memories of my father. I’ll play it Father’s Day.
What I’m reading:
The Fifth Season, by N. K. Jemisin. I am not a reader of fantasy or sci-fi, though I understand they can be powerful vehicles for addressing the very real challenges of the world in which we actually live. I’m not sure I know of a more vivid and gripping illustration of that fact than N. K. Jemisin’s Hugo Award winning novel The Fifth Season, first in her Broken Earth trilogy. It is astounding. It is the fantasy parallel to The Underground Railroad, my favorite recent read, a depiction of subjugation, power, casual violence, and a broken world in which our hero(s) struggle, suffer mightily, and still, somehow, give us hope. It is a tour de force book. How can someone be this good a writer? The first 30 pages pained me (always with this genre, one must learn a new, constructed world, and all of its operating physics and systems of order), and then I could not put it down. I panicked as I neared the end, not wanting to finish the book, and quickly ordered the Obelisk Gate, the second novel in the trilogy, and I can tell you now that I’ll be spending some goodly portion of my weekend in Jemisin’s other world.
What I’m watching:
The NBA Finals and perhaps the best basketball player of this generation. I’ve come to deeply respect LeBron James as a person, a force for social good, and now as an extraordinary player at the peak of his powers. His superhuman play during the NBA playoffs now ranks with the all-time greats, Larry Bird, Magic Johnson, MJ, Kobe, and the demi-god that was Bill Russell. That his Cavs lost in a 4-game sweep is no surprise. It was a mediocre team being carried on the wide shoulders of James (and matched against one of the greatest teams ever, the Warriors, and the Harry Potter of basketball, Steph Curry) and, in some strange way, his greatness is amplified by the contrast with the rest of his team. It was a great run.
May 24, 2018
What I’m listening to:
I’ve always liked Alicia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.
What I’m reading:
Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia.  It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.
What I’m watching:
I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.
April 27, 2018
What I’m listening to:
I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan.  Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.
What I’m reading:
I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,” accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.
What I’m watching:
I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.
March 18, 2018
What I’m listening to:
Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.
What I’m reading:
Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.
What I’m watching:
Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news. 
March 8, 2018
What I’m listening to:
We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.
What I’m reading:
Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.
What I’m watching:
The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.
February 12, 2018
What I’m listening to:
So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.
What I’m reading:
I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.
What I’m watching:
We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.
January 15, 2018
What I’m listening to:
Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.
What I’m reading:
A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.
What I’m watching:
David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.
December 22, 2017
What I’m reading:
Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.
What I’m watching:
Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.
What I’m listening to:
A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.
November 14, 2017
What I’m watching:
Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?
What I’m reading:
Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.
What I’m listening to:
Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.
November 3, 2017
What I’m reading: Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.
What I’m watching: We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.
What I’m listening to: I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.
September 26, 2017
What I’m reading:
Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.
What I’m watching:
HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.
What I’m listening to:
The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.
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