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aaronmaurer · 3 months

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TV I Liked in 2023

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Even with the interruption of many series due to the writers and actors strikes, there was no shortage of first-rate television in 2023. This year, to account for both novelty and sustained excellence, I’ve broken my Top 15 shows into 3 categories: “New and Notable,” “Returning Favorites” and, to reflect the sheer number of years-later follow-ups, “Reboots, Revamps and Resurrections.” These distinctions might be a little murky in some cases, but it gives some framework to reflect on the year that was. As always, I make no claims to completism (I still haven’t seen a single episode of Succession 😬); these are merely some standouts that I would say are worth your attention.

New and Notable:

5. Shrinking: Season 1 (AppleTV+)

A fun new dramedy from Bill Lawrence, Jason Segal and Brett Goldstein, Shrinking starts a bit gimmicky but quickly turns into an opportunity to just hang out with the eminently entertaining likes of Segal, Jessica Williams and Harrison Ford (in a terrific comedic turn). While some of the blame for Ted Lasso’s shaggy final season might be attributed to Lawrence’s showrunning departure to move to this series, it’s at least led to something worthwhile thus far.

4. The Diplomat: Season 1 (Netflix)

I’d follow Keri Russell just about anywhere, and though I had worried her new show wouldn’t be much more than a melodramatic procedural, my fears were allayed by a series that thoughtfully – and entertainingly – unpacks foreign diplomacy and international intrigue without ever straining credulity. Add to that one of the most stunning cliffhangers of the year and I am all-in for Season 2.

3. The Last of Us: Season 1 (HBO)

As someone who is neither an avid gamer nor a big fan of zombie-adjacent horror or survivalist narratives, I would not have thought The Last of Us would have much to offer me, but I’m glad I gave it a chance. From the excellent cast to the riveting episodic storytelling, the show transcends its genre trappings to say a lot about community/found family, trust, power dynamics and more.

2. The Muppets Mayhem: Season 1 (Disney+)

This new series chronicling the adventures Dr. Teeth and the Electric Mayhem is the most fun and tonally on-point Muppets project since the 2011 Jason Segal movie. The series perfectly captures the madcap yet heartfelt spirit of Jim Henson’s creations while winningly bringing them into the 21st century in a less forced way than the recent Muppets Now. (While it could be eligible for the third category of this list, since it’s a new creative team and with a specific focus, I’m sticking with the “New” designation.)

1. Poker Face: Season 1 (Peacock)

This new “howcatchem” (as opposed to “whodunnit”) series from Rian Johnson (Looper, the Knives Out movies) is lots of fun. A little of Natasha Lyon goes a long way for me, but I think she does great work here as the series lead alongside a rotating cast of fun performances. The show does a fine job of balancing fulfilling self-contained stories with an underlying arc to the season that pays off nicely.

Returning Favorites:

5. Perry Mason: Season 2 (HBO)

In its second (and, sadly, final) season, HBO’s Perry Mason reboot is less bleak and more assured, hitting its stride. The mystery is engaging & relevant, the smoky Terence Blanchard score is note-perfect and the excellent returning cast is matched by game additions including Katherine Waterston and Hope Davis. Here’s hoping the Downeys can find a way to continue it in some capacity elsewhere.

4. What We Do In The Shadows: Season 5 (FX)

Still one of the most reliably hilarious and offbeat shows on the air, even in its fifth season, WWDITS simply boasts one of the best casts and wittiest writing in comedy today. If nothing quite reaches the very-high highs of prior years, storylines including Guillermo’s slow transition to vampirism, Lazlo’s roast, Nadja’s “curse,” and Colin Robinson’s political campaign for comptroller nonetheless provide plenty of fodder for laughs.

3. Reservation Dogs: Season 3 (FX)

After starting and stopping a couple times, I finally took in all of Sterlin Harjo’s exceptional comedy in 2023. While the Season 2 finale would have been a perfect series capper, this third season is a victory lap that affords the opportunity to continue exploring core themes of native spirituality, community, life and death. I can’t think of a recent series that includes more age diversity among its cast and celebrates what different generations have to offer each other. A truly beautiful treasure of a show.

2. Loki: Season 2 (Disney+)

While I quite liked the first season of Loki, I wasn’t convinced I needed a second. Imagine my surprise – and delight – when Season 2 managed not just to surpass the original run but fully stuck the landing in a finale episode that pulls everything together (pun intended) to result in one of the most satisfying conclusions in all of the MCU (especially arriving on the heels of franchise low point Secret Invasion). Putting aside the Jonathan Majors of it all, the rest of the season is a fun mix of time-travel espionage and time-loop hi-jinks that fires on all cylinders. Not to mention the continued excellence of its returning cast, plus additions like Ke Huy Quan, and incredible production design/effects work.

1. The Bear: Season 2 (hulu)

The Bear isn’t always an easy watch (see: the anxiety attack that is “Fishes”) but it is always utterly compelling. Its second outing ultimately serves as beautiful ode not just to the culinary industry but to creative professions in general, as well as the importance and power of collaboration & teamwork to bring out the best in one another, while challenging the myth of self-sufficiency / tortured genius and its destructive power (as well as negative self-talk). A truly bravura season that outshines even the first.

Reboots, Revamps and Resurrections:

5. Justified: City Primeval (FX)

I was somewhat skeptical of a reboot of Justified, one of my all-time favorite shows, but the idea of a limited series integrating protagonist Raylan Givens into the narrative of another Elmore Leonard novel turned out to be a good one. First, we have the chance to see Raylan in one of Leonard’s favorite settings, Detroit (though weirdly shot in Chicago…), and Second, we have the chance to address some of the societal reckonings around law enforcement that have occurred in the time since the original series ended. While I never considered the show to be full-out Copaganda (Leonard was a crime novelist and always populated his work with those working both inside and outside of the law), there are still valid interrogations of the criminal justice system to be made, all while spinning a riveting yarn featuring Boyd Holbrook as the sociopathic “Oklahoma Wildman” Clement Mansell wreaking havoc on Raylan’s stay in the Motor City.

3. (tie) Clone High: Season 2 (Max) and Futurama: Season 8 Part 1 (hulu)

Two of my all-time favorite animated series returned in 2023 after long absences.

Clone High, prior to this a one-season wonder from Phil Lord and Chris Miller (The LEGO Movie, 21 Jump Street, the Spider-Verse movies, etc.), returned with an eye toward expanding its cast to reflect more diversity as well as a more current take on high school. While this means some of the humor of its pairing broad teen archetypes with historical figures was a little lost (none of the new Zoomer characters have as strong a foothold as, say, JFK as jock or Joan as goth) and there aren’t as many specific “very special episode” tropes being skewered, there is still a lot of fun to be had, especially as the season finds its groove in the back half.

Futurama, in its now – I think – fourth iteration, gained a solidly familiar new life on hulu. The first batch of episodes don’t add any new cast members or break the mold too much from prior incarnations, but they’re reliably enjoyable on the whole (the episode with all the faux toy commercials notwithstanding).

2. Party Down: Season 3 (Starz)

Most many-years-later television reboots or continuations suffer from not being able to *quite* match the precise vibe of their original runs and end up feeling like zombie shows that are a little off. Party Down’s third season, coming 13 years(!) after its second, may be the best continuation ever in terms of tonal accuracy. Despite certain stars appearing in a quite different capacities, the addition of new cast members and the absence of Lizzy Caplan, the show is as depressingly funny as ever and manages to make sense of the elapsed time for its characters via the in-show wake of the pandemic. Six episodes seems far too little, but honestly, it’s a minor miracle that we even got these.

1. Fargo: Season 5 (FX)

Given that Fargo is an anthology series with a new cast and storyline each season, this slot seems a better fit that “Returning” since it’s not a direct continuation of anything before. And coming after a largely unfulfilling (albeit entertaining) fourth outing, Season 5 feels like a breath of fresh, crisp, cold Minnesotan air. Although only 7 (of 10) episodes aired in 2023 after its release was pushed back to November, I’m still confident in including it here because, well, what a season! From the engaging performances (especially the incredible Juno Temple, 180 degrees from Keely in Ted Lasso) to the bravura cinematography & direction to the continually entertaining riffs on themes from the Coen Brothers filmography (and an outstanding finale, even though that just aired in 2024), this ranks right up with Season 2 as a series best. Can’t wait to see what creator Noah Hawley has in store next.

Bonus! 10 More (in alphabetical order):

Abbott Elementary: Season 2 (ABC) – Quinta Brunson’s loving public school mockumentary continues to shine in the back half of its extended second season, showcasing one of the best comedic ensembles on television

All Creatures Great and Small: Season 3 (PBS) – still one of the loveliest and coziest comfort food shows around, even as it deals with the looming specter of WWII

Barry: Season 4 (HBO) – an uneven final season that still packs in a lot of unparalleled sequences and an uncompromisingly bleak finale

Beef (Netflix) – a slightly drawn-out but compelling limited(?) series buoyed by Steven Yeun and Ali Wong’s lead performances and expertly deployed early 00s needle drops

Full Circle (Max) – a multi-layered crime caper miniseries from Steven Soderbergh with a stacked cast including Claire Danes, Timothy Olyphant, Zazie Beetz and CCH Pounder

How To With John Wilson: Season 3 (HBO) – the final season of Wilson’s uniquely quirky yet humane documentary series goes even more places you wouldn’t expect

Mrs. Davis (Peacock) – a nearly impossible-to-describe and truly outré, yet heartfelt, sci-fi-ish dramedy/satire from Tara Hernandez and Damon Lindelof that explores faith, artificial intelligence, capitalism, sociopolitics and more; quite a ride!

Scott Pilgrim Takes Off (Netflix) – an anime retelling of the Scott Pilgrim graphic novels/movie that interrogates its story and recenters other characters; fun, charming and even a little thought-provoking

Upload: Season 3 (Amazon Prime) – Greg Daniels’ wild dystopian future-set sitcom continues to expand beyond its initial premise with wild plot-turns, but at the end of the day, its charismatic leads and great supporting cast make it a great hangout show

Welcome to Wrexham: Season 2 (FX) – Wrexham’s second season continues its winning formula of mixing coverage of the action on the pitch with stories of the club’s history, staff and supporters, adding up to much more than a typical sports doc

#tv #television

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aaronmaurer · 4 months

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Movies I Liked in 2023

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2023: Good Movie Year! Despite the writers and actors strikes resulting in a lot of releases being pushed to 2024, there was still a wealth of cinema to choose from. Many of my favorite directors made excellent films and there were many others that I admired, even if I didn’t quite connect with them (i.e. Poor Things, Dream Scenario, Past Lives). Here then, my 10 favorites, plus a few honorable mentions:

10. How To Blow Up A Pipeline (VOD, hulu)

The heist movie as a piece of compelling agitprop (or maybe vice versa), How To Blow Up A Pipeline turns a nonfiction treatise on climate activism into an expertly structured thriller. The film traces a diverse group of characters with varying motivations in their common journey to disrupt a the seemingly intractable foothold the oil industry has on contemporary society through sabotage. Regardless of your political leanings, it’s a white-knuckle ride that provides a lot of food for thought.

9. Air (Blu-Ray, Amazon Prime)

Yay, brands?, Part 1. This telling of the origins of the Air Jordan shoe (and Nike’s relevance to the basketball market in general) boasts a whip-smart script resulting in a surprisingly funny movie (which is way better than if it were self-serious) with terrific performances by the likes of Matt Damon and Jason Bateman. Unlike this year’s Blackberry (also excellent), Air is too much of a brand/corporate-controlled product to be satirical, yet it manages to transcend most of that dubiousness through sheer likeability. Its triumphs are ultimately commercial, though, so it leaves you feeling a little grody about rooting for millionaires to become even richer.

7. (tie) The Killer (Netflix) and Mission: Impossible – Dead Reckoning Part One (Blu-Ray, VOD)

Two of my favorite action-oriented films of the year.

David Fincher’s The Killer is, at once, a classic revenge thriller and a rebuke of the same, highlighting the mundanity of its hitman protagonist’s existence, the hypocrisy with which he lives his life and the futility of his chosen profession. It has the verve of a Steven Soderbergh film and its episodic nature makes it ideal for rewatching.

The latest Mission: Impossible, my favorite action franchise, comes on the heels of what has become my favorite entry in the series, so it can’t help but suffer a bit by comparison. That said, it’s still a high-octane thrill ride of a movie, with riveting setpieces and a climax that continually had my heart in my mouth.

6. Asteroid City (Blu-ray, VOD, Amazon Prime)

This year’s full-length Wes Anderson confection is a nesting doll of a film that boasts frame story within frame story, yet somehow through its artifices still manages to connect on an emotional level as it deals with grief, age and the unknown — all while taking place during a youth astronomy convention that gets visited by aliens. As you do. Boasting another truly incredible cast of stars and Anderson regulars, the film is loaded with great comedic moments and singularly immaculate production design.

5. Barbie (Blu-Ray, VOD, Max)

Yay, brands?, Part 2. Sure, you can argue the merits of its existence, but in the same year that saw huge box office returns for the utterly bland brand-extension that is Super Mario Bros., at least Barbie had something to say. Many things, actually; about women, patriarchy, societal roles, perfectionism, horses, etc. If you’re going to turn a massive toy property into a movie, you could do a lot worse than involve the likes of (co-)writer/director Greta Gerwig and stars Margot Robbie & Ryan Gosling. Plus Michael Cera as Alan, the stealth winner of the movie. I love both of Gerwig’s previous directorial efforts and I assumed there would be moments of emotional resonance, but I was not expecting just how laugh-out-loud funny this movie is; my favorite straight-up comedy of the year.

4. Spider-Man: Across the Spider-Verse (Blu-Ray, VOD, Netflix)

I enjoyed 2018’s Into The Spider-Verse, but despite its innovative animation it didn’t quite crack my Top 10 that year. Its sequel manages to be no less groundbreaking (through incredible visuals that are often like moving paintings) or grounded (through character relationships that are given moments to breathe amid the action), while amping things up on all levels. Whereas the first movie brought several characters from other realities into that of protagonist Miles Morales, in this one, Miles visits several other realities himself, each of which is rendered in its own unique aesthetic. Moreover, Miles is not the sole protagonist — this time out Gwen Stacy kicks off the story and the film is as interested in her emotional journey as his. In a year of superhero fatigue, Across The Spider-Verse shows that there is still life in the genre, when humor and heart are involved.

3. Killers of the Flower Moon (VOD, Apple TV+)

Martin Scorsese has spent a career training his camera on the evil — specifically the violence and greed — men do. Killers of the Flower Moon adapts David Grann’s true crime book about a series of murders of wealthy Osage Nation members and the early days of the F.B.I. into something more narrowly focused yet more powerful for it. It can be tempting to look away, or misinterpret it as glorification, but Scorsese dares you to witness these acts. To sit with them and behold their perpetrators as their justifications, rationalizations and patronizations fly; and to hold those perpetrators to account. The final two scenes of the film hold a tension and a release: the recognition of who has told and been telling this story, and a final shot that hints at what has been lost culturally (and really, in every way since the Doctrine of Discovery to begin with) by such gatekeeping. A masterpiece.

2. The Holdovers (Blu-Ray, VOD, Peacock)

The latest film from Alexander Payne is a warm and charming dramedy about a trio of misfits who are left to “celebrate” the holidays together at a New England prep school in the 70s (with production design that feels right out of the era). Paul Giamatti, Da’Vine Joy Randolph and newcomer Dominic Sessa are all pitch-perfect, bringing a depth of humanity to their characters as they deal with personal tragedies small and large. Immensely satisfying and sure to be a new alternative Christmas classic.

1. Oppenheimer (Blu-ray, VOD)

Christopher Nolan’s biopic of J. Robert Oppenheimer is ostensibly a period piece, but unlike many other historical dramas or “great man” epics, it feels thrillingly alive, propulsive and current, never getting stuck in nostalgia. It’s pop avant garde history, akin to Damien Chazelle’s portrait of Neil Armstrong, First Man, where the sound design and cinematography emphasize the enormity of the events being witnessed while the performances keep things grounded and all-too-human. Despite its dozens of characters, multiple timelines and 3-hour runtime, there is a flow to this film; a feeling that Nolan is orchestrating things as a conductor would a symphony. Every piece fits and every piece matters. And at the end of things, there is the overwhelming WEIGHT of what has transpired, and the contrast between the animating forces of the universe with the pettiness and self-interest of the people who seek to harness them.

Bonus! Honorable Mentions:

American Fiction (Theatres) – a clever trojan horse of a family dramedy in the guise of cultural satire

Blackberry (DVD, VOD, AMC+) – an immensely engaging look at the rise and fall of the titular tech company; while brands were big at the movies this year, this one wasn’t afraid to focus on corporate greed

Dungeons & Dragons: Honor Among Thieves (Blu-Ray, VOD, Paramount+, Amazon Prime) – I have never played D&D and am not a big RPG guy period, but the charming cast and the script & direction from the team behind Game Night make this a surprisingly fun watch even without context

Rye Lane (hulu) – a super-charming British rom-com with charismatic leads and a visual flair beyond the genre’s usual sameness

The Zone of Interest (Theatres) – like Killers of the Flower Moon, Jonathan Glazer’s latest film focuses on mundanity of evil and systems of violence, while not completely ignoring small acts of defiance

#film

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aaronmaurer · 4 months

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Music I Liked in 2023

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Although I didn’t discover a lot of new artists in 2023, many of my favorites put out new records that I really enjoyed. Rather than forcing them into any sort of order or tiers this year (since that could honestly change day-to-day), the following recommendations are simply presented in alphabetical order by artist. Check them all out!

Or, failing that, here’s a playlist of songs from my top 15(ish) records for your sampling pleasure:

Andrew McMahon In The Wilderness – Tilt At the Wind No More

I’ve found Andrew McMahon’s post-Jack’s Mannequin output to be a little hit-or-miss, but the most recent two albums, this one included, hit in all the right ways. A collection of perfect power pop-punk walls of sound like album-opener “Lying on the Hood of Your Car,” lead single “Stars” and my personal favorite, “Submarine,” that grow on you with each listen and invite sing-alongs at every chorus.

Belle and Sebastian – Late Developers

Less than a year after releasing 2022’s excellent A Bit of Previous, Belle and Sebastian delivered another winning collection of indie confections in Late Developers. From warm blankets of melody like “Give A Little Time” and “The Evening Star” to the chamber pop of “Will I Tell You A Secret” to the synth-rock dynamo “I Don’t Know What You See In Me,” one of the catchiest songs I heard in 2023, the record is proof Stuart Murdoch and Co. still have a lot up their sleeves.

blink-182 – One More Time…

As a fan of 2019’s Nine, I wasn’t convinced that a reunion with Tom DeLonge was essential for blink-182 to make worthwhile music, but I’m still glad the guys could patch things up and get back into the studio together. One More Time… may not be quite as expansive as its predecessor, but it’s a solid addition to the band’s discography with shots of adrenalized pop-punk infused with the experience of age (though not necessarily maturity…).

boygenius – the record & the rest EP

A lot of the 2023 indie rock discourse revolved around the first full-length record from Lucy Dacus, Phoebe Bridgers and Julien Baker’s collaboration, and while I like it quite a bit, I find it doesn’t quite cohere enough to hit the heights of the individual outputs of each artist (or their 2018 EP) for me. That said, when it goes, it really goes — the soaring harmonies of “Not Strong Enough” prove it deserving of every Song of the Year accolade it’s been nominated for, and “Satanist” is a winkingly fun riff-rocker (that is to say, they picked the right two songs to play for their SNL performance this year). The valedictory lap of the rest EP is a less essential, yet nice, treat from a trio of excellent songwriters enjoying a breakthrough year.

Fireworks – Higher Lonely Power

I missed the train on emo stalwarts Fireworks’ early 2010s heyday but got onboard with this new record thanks to a couple podcast and blog recommendations upon its release on New Year’s Day 2023. Call it “Faith Deconstruction: The Album” – an interrogation of American Evangelicalism and rumination on life after it. The opening screamo burst of “God-Approved Insurance Plan” quickly cedes to more melodic and probing tunes like “Megachurch,” “Jerking Off The Sky” and “Blood In The Milk.” The beautifully wistful album closer “How Did It Use To Be So Easy?” may very well be about a romantic breakup, but to my ears, it might be narrated by God themself, assuring the listener that “you could be happy without me:” the ultimate “come to me all you who are weary and heavy-laden and I will give you rest,” when the burden is religion itself.

Foo Fighters – But Here We Are

The Foos’ strongest effort since 2011’s Wasting Light sadly comes in the aftermath of drummer Taylor Hawkins’ death (as well as that of Dave Grohl’s mother). The vibes hearken back to their 90s best, with melodic prowess to match the more hard-rocking moments.

Peter Gabriel – i/o

More than two decades after his last album of original material, Peter Gabriel’s completed i/o arrived in December 2023 (after monthly song drops throughout the year). Worth the wait, the record comes in multiple mixes (I am currently partial to the Bright-Side Mix) and features his uniquely accessible art-rock, blending moody atmospheres with big pop hooks. While Gabriel reflects on the darkness in the world and our technological age, he shares moments of great hope and uplift, none more so than the record’s closing salvo “Live and Let Live,” a gorgeous tribute to peace and unity and those who came before that we can look to for guidance.

Gorillaz – Cracker Island

Gorillaz’s latest record is a very vibe-y affair, awash in hazy, vaporwave-inflected synth grooves without sacrificing any of Damon Albarn’s aptitude for writing indelible hooks. This collection of songs is one I’ve returned to time and time again since its February release.

Great Lake Swimmers – Uncertain Country

The latest collection of indie folk from Toronto’s Great Lake Swimmers has an inviting, communal feel that is easy to get lost in. This is partially attributable to choral accompaniment on a number of songs as well as several snippets of studio banter that bring the record to life, pushing against the isolation of the pandemic era during which it was conceived. The beauty and hope of the songwriting (and its reflections on the natural world) shine a light out of that darkness.

Grouplove – I Want It All Right Now

Another shimmering collection of hook-laden songs find California collective Grouplove firmly in their zone of cathartic sing-along rock mixed with quieter ballads. While I Want It All Right Now doesn’t necessarily reinvent the wheel, it slots right in among the best of their output.

Joy Oladokun – Proof of Life

Proof Of Life is one of those records that seems at once both familiar and fresh, as Joy Oladokun shares introspective reflections on race, faith and sexuality with impeccable artistry. Collaborations with the likes of Manchester Orchestra, Mt. Joy and Chris Stapleton add texture to the mix but take nothing away from her own voice which rings out strong and clear. A favorite of the year.

The National – First Two Pages Of Frankenstein & Laugh Track

The National overachieved this year by releasing two full-length records less than five months apart. First Two Pages… is a bit more subdued overall and I think I currently prefer Laugh Track as a whole, but I wouldn’t eliminate any tracks from either. Both albums reward repeat listens and have a lot to offer fans of the band.

The New Pornographers – Continue as a Guest

Any year with a new New Pornographers record is a treat and Continue as a Guest is a winning addition to the Canadian indie rockers’ catalog. A range of diverse instrumentation including synths and woodwinds adds new colo(u)rs to the band’s palette and although the pandemic-influenced lyrics delve into isolation and malaise, it doesn’t come at the expense of their trademark popsmart melodies, adding up to an enveloping listen I kept on repeat for much of the year.

Paramore – This is Why

Following the new wave-influenced After Laughter, Paramore continue to evolve their sound with This Is Why. The post-punk-leaning production creates space for jagged guitar riffs, grooving basslines and driving percussion while Hayley Williams’ dynamic vocals glide over top. Can’t wait to see where they go next!

Sufjan Stevens – Javelin

Javelin marries Sufjan’s gift for intimate balladry with his penchant for excessive sound collages, in all the best – and most heartbreaking – ways. Songs often begin softly and soon explode into multi-layered vocals and instrumentational flourishes, with deeply felt lyrics about love and loss. What first seemed like a breakup album was made all the more poignant by the revelation that it was inspired by the death of his long-time partner earlier in the year.

BONUS! A Few More Recommended Listens From Perennial Favorites

Andrew Bird – Outside Problems

Dave Matthews Band – Walk Around the Moon

Manchester Orchestra – The Valley Of Vision EP

Metric – Formentera II

Noel Gallagher’s High-Flying Birds – Council Skies

#music

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aaronmaurer · 1 year

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Music I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2022 was a good music year, alt/indie rock-wise, anyway. I found that each season brought a different favorite, so much like last year, trying to rank them would be quite arbitrary. Once again, I’ve put my recommendations into three tiers as well as a couple bonus categories for further listening.

Here’s a playlist of songs from my top 15(ish) records for your sampling pleasure:

Tier 3: Worth A Listen

Belle and Sebastian – A Bit Of Previous

A quite catchy and fun return-to-form from the Scottish indie rockers.

Dayglow – People In Motion

For his second record in as many years, Sloan Struble leans back into the electropop of his debut, resulting in the poppiest and most consistent Dayglow release yet.

Dermot Kennedy – Sonder

While not quite as folk-inflected as his debut, Kennedy’s sophomore full-length is a solid and soulful collection of lovelorn pop jams.

First Aid Kit – Palomino

Sweden’s Söderberg sisters latest LP features a great collection of sweeping pop anthems and lush harmonies.

PUP – THE UNRAVELING OF PUPTHEBAND

This record from Canada’s PUP is a super meta and darkly comic blast of pop-punk energy, featuring imagined meetings with record executives and existential ruminations on life as a professional musician.

Tier 2: Appointment Listening

Anaïs Mitchell – Anaïs Mitchell and Bonny Light Horseman – Rolling Golden Holy

Hadestown creator Anaïs Mitchell had a busy year, releasing her first solo album in almost a decade in January and then a sophomore album with Bonny Light Horseman in October. Both are lovely collections of poetic folk-rock.

Beach Bunny – Emotional Creature

Following up on 2021’s excellent Blame Game EP, the second full-length from Beach Bunny is a great mix of pop-rock tunes, by turns introspective and propulsive.

Metric – Formentera

The latest from synth-rock powerhouse Metric is another excellent blend of indelible hooks and Emily Haines’ reflective lyrics.

Spoon – Lucifer On The Sofa

I’m not a Spoon megafan, but their latest record is an undeniable mix of rootsy guitar riffs and grooves that stands with the best of their catalog.

Tall Heights – Juniors

Juniors is a bit more pop-oriented and less folky than their previous efforts without losing their signature transportive soundscapes.

Tier 1: Highest Recommendation

Alex G – God Save The Animals

A fully-realized synthesis of Alex G’s most melodic songwriting and quirkier impulses, God Save The Animals ruminates on subjects of faith, love, and the beauty and darkness of the human condition. As compelling and mysterious as ever.

Bartees Strange – Farm To Table

The sophomore LP from idiosyncratic singer/songwriter/guitarist Bartees Strange is an adventurous fusion of styles and influences, with affecting personal lyrics including reflections on subjects including his experience as a military brat, the pandemic and the death of George Floyd.

beabadoobee – Beatopia

A lovely bedroom pop record that recalls female-fronted 90s dream pop and alt-rock, Beatopia feels both familiar and fresh, like making a new friend you feel like you’ve known forever.

Stars – From Capelton Hill

Very much a pandemic record, the latest from Canada’s Stars is nonetheless beautiful and moving, with resonant themes of loss, isolation, connection, and through it all, the slightest glimmers of hope.

The Wombats – Fix Yourself, Not The World and Is This What It Feels Like To Feel Like This? EP

I hadn’t fully connected with Liverpool’s Wombats before, but their latest full-length caught my attention with a collection of hook-laden tunes evocative of the 90s Britpop explosion’s best. The companion EP from later in the year is no less catchy or popsmart.

BONUS! Other Favorite EPs of the Year

Khruangbin & Leon Bridges – Texas Moon

Following on their Texas Sun EP from 2020, Khruangbin and Leon Bridges’ latest collaboration is another smooth collection of tuneful psych-rock, culminating in personal song-of-the-year contender “Mariella.”

Of Monsters and Men – Tíu

I’ve fallen off on OMAM a bit over the past few years, but this EP commemorating the 10th anniversary of their debut is a compelling reminder of what makes them special.

DOUBLE BONUS! Streaming-Only Albums

So, I’m very much an outlier in how I listen to music, preferring to buy physical copies of albums rather than paying for streaming services. As such, I use the likes of Spotify mainly to preview records before purchasing from the artists and since its free version only allows shuffle mode on mobile devices, I end up not spending as much time with albums I don’t own.

I really like each of these records but as I hold out hope for CDs or vinyl someday, I have yet to buy digital versions and haven’t listened enough to slot them among the other picks above.

The Big Pink – The Love That’s Ours

Ethel Cain – Preacher’s Daughter

Gungor – Love Song to Life

John Van Deusen – (I Am) Origami Pt. 4 – Marathon Daze

Taxes – Retirement Home

#music #Spotify

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aaronmaurer · 1 year

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TV I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2022 brought plenty of new continuing and limited series of note, while returning shows retained the qualities that set them apart to begin with. There were outstanding series finales and expectation-defying debuts. This year I’ve divided my list into new shows (which I’ve folded the Disney+ Marvel shows into because there were only three of them, and two of them were pretty great!) and returning highlights. I also threw in some honorable mentions for additional viewing, if you’re really looking for content this winter.

New and Notable:

9. (tie) Winning Time: Season 1 (HBO) and Welcome to Wrexham: Season 1 (FX)

I’ll kick off my list of new shows with a couple of very different series about sports that are united by being compulsively watchable and each balancing a comic touch with more dramatic moments.

Winning Time is a fictionalized (highly, according to some reactions) account of the beginning of Los Angeles Lakers’ 1980s “Showtime” era with the signing of Magic Johnson. Adapted by Adam McKay (The Big Short, Vice), the series is hyper-kinetic, using a mix of film stock and camera formats (including grainy Super 8), plenty of fourth wall breaking by its characters and a heightened sense of reality. It’s A LOT – reveling in the excess of its era and subjects, maybe too much? – but I ultimately find it fun and compelling, especially the performances including John C Reilly as team owner Jerry Buss, Jason Segal as interim coach Paul Westhead, Adrien Brody as reporter-turned-assistant coach (and future head coach) Pat Riley, Quincy Isaiah as Magic himself, Wood Harris as struggling forward Spencer Haywood and Solomon Hughes as superstar center Kareem Abdul-Jabbar, just to name a few of the absolutely STACKED cast. I didn’t even mention Sally Field! Or Tracy Letts! And the list goes on and on!

Welcome to Wrexham, on the other hand, is a documentary about actors Rob McElhenney and Ryan Reynolds’ recent purchase of a bottom-tier Welsh soccer club. As a big fan of the sport I knew I’d get around to it eventually, but I put off watching for awhile because I’m not a big fan of Reynolds’ smarmy “lovable asshole” stage persona and I figured the show was kind of a Johnny-come-lately riding the coattails of the likes of Ted Lasso’s success. That said, I was unprepared for how balanced and well-made this series is. It certainly spends plenty of time with Rob and Ryan (who both come off amiable and endearing), but more on the actual inner workings of the club and their supporters and community. I appreciated the ongoing narrative arc of the season being supplemented with focuses on specific aspects of the game like hooliganism and tournament play as well as spotlights on individual players, staff and supporters. There have been plenty of soccer documentaries before, but this one is a top-notch love-letter to the glories and heartbreaks of the beautiful game.

8. Ms. Marvel (Disney+)

The introduction of Kamala Khan/Ms. Marvel to the Marvel Cinematic Universe could have fallen into the clichés of melodramatic teen drama, but it mostly avoids them through the centering of its charming Muslim cast of characters, bringing fresh perspective to the genre. It also features innovative effects work and vibrant art direction that bring Kamala’s inner world to life and provides fun glimpses at “ground-level” life in the MCU (i.e. an Avengers fan convention she attends early on).

7. She-Hulk: Attorney at Law: Season 1 (Disney+)

I didn’t know that I needed a straight-up half-hour superhero sitcom in my life (although my love of all iterations of the Tick may have been a sign), but She-Hulk: Attorney at Law is an utter delight that rewards fans of even the most obscure minutiae of the MCU while remaining funny and accessible to more casual viewers. Guest appearances from existing characters (Daredevil, Wong, the Abomination) work like gangbusters, and introductions to some of Marvel’s most D-List heroes and villains (Leap-Frog, Porcupine, Mr. Immortal, etc.) are wonderfully absurd. The show’s comic book-accurate fourth wall breaking is employed well, and the completely meta finale episode skewers the MCU and its tropes in winning fashion.

6. Abbott Elementary: Seasons 1 and 2 (ABC)

Just when it seemed the mockumentary genre was completely beaten into the ground, Quinta Brunson’s Abbott Elementary came along to prove that great humor can enliven any format. The ABC sitcom centers on a public elementary school in Philadelphia, focused primarily on the teachers and staff, though the students sometimes take the spotlight as well. While it doesn’t shy away from depicting the challenges of underfunded institutions, the series is chiefly a vehicle for big laughs and big heart and a salute to public servants.

5. The Sandman: Season 1 (Netflix)

As a comic book fan in the 90s, I heard a lot about Neil Gaiman’s Sandman comics via the likes of Wizard magazine without ever actually having read any issues (mainly because I was a kid then and it was on a “mature” imprint). I was intrigued when I learned it was becoming a Netflix series but also didn’t really think it’d be for me – I tend more toward superhero fare than the dark fantasy/lite horror it traffics in. But upon watching the series, I found myself swept up in the tale and won over by both its world-building and excellent cast. While it occasionally veers into over-exposition and slight disjointedness (from mixing highly serialized storytelling with abrupt pivots to standalone episodes), its artful, impressionistic effects and thematic resonances (hope, change/growth, dreaming itself) more than make up for its shortcomings.

4. The Lord of the Rings: The Rings of Power: Season 1 (Amazon Prime Video)

This recommendation comes with the caveat that I am not by any means a J.R.R. Tolkien fanatic, having only read The Hobbit years ago and finding his ornate prose impenetrable for my personal taste, so I cannot speak to Rings of Power’s fidelity (or lack thereof) to the source material. And while I love the original Peter Jackson LOTR film trilogy in all its Extended Edition glory, I barely made it through the first Hobbit film and skipped the next two altogether, as I found them way too esoteric and tedious. I feared something similar with this Amazon Prime prequel series, assuming I’d be bored to tears by Middle Earth history I’d find dry and listless. This proved another pleasant surprise then, as once I gave it a shot, I found myself fully engaged in the story, characters and magnificent visuals – the production design is seriously gorgeous and I could watch cameras exploring these new corners of Middle Earth all day. I also appreciate the series’ themes of light and dark, while adding some shades of gray that lend a bit more complexity to Tolkien’s world, even among his most disposably “evil” adversaries, the Orcs. You! Shall! Not! Pass! (on this show, or you’ll seriously be missing out)

3. Andor: Season 1 (Disney+)

Turns out 2022 was really a year of genre shows that defied my skepticism. I saw 2016’s Rogue One: A Star Wars Story when it was released and liked it okay but with a number of caveats, and frankly, had zero interest when I heard a prequel series was coming based on Diego Luna’s Cassian Andor character (even though I like Luna!). Well, it turns out that Andor is not only the hands-down-best of the year’s three new live action Star Wars shows but possibly the best one to date (sorry Grogu, I still love you) — and maybe even the best SW content since the original trilogy?

The series’ focus is the inner-workings of the Rebel Alliance under the growing influence of the fascist Empire, and while I often found those elements of the movies a bit dry, creator Tony Gilroy brings them to life like a white-knuckle spy thriller (fitting, as he wrote the Bourne trilogy scripts). There are other genre influences that come into play as well, such as film noir, the futuristic neon dystopia of Blade Runner, heist films, prison escape movies, comedies of manners and more. This first season is comprised of satisfying three-to-four-episode arcs which keep things moving like a well-oiled Death Star assembly line. Bravo.

2. The Bear: Season 1 (hulu)

A riveting portrait of familial obligation and the food service industry, hulu’s The Bear chronicles a celebrity chef returning to his home of Chicago to take over an Italian beef stand left to him by his brother. The scripts are taut, the cast is uniformly excellent, the filmmaking is invigorating and the 90s alt-rock soundtrack is expertly deployed. If its Chicago references aren’t always 100% accurate, I’ll give it a pass for capturing the spirit of the city, its food culture and its people. Yes, Chef!

1. Severance: Season 1 (Apple TV+)

Severance first appears to be something of a hybrid of great influences: the mundane bureaucratic dystopias of Terry Gilliam’s Brazil, Netflix’s Maniac, Eternal Sunshine of the Spotless Mind and Black Mirror all come to mind. But rather than feeling derivative, this darkly comedic sci-fi exploration of the divide between work life and home life has a unique and captivating vision of its own, with indelible characters, led by Adam Scott’s Mark S. Episode 9, “The We We Are,” is best season finale I’ve seen in years, an incredibly tense and satisfying blend of questions answered and stakes raised. Bring on Season 2!

BONUS: Animated Special

The Boy, the Mole, the Fox and the Horse (Apple TV+)

The short film adaptation of illustrator Charlie Mackesy’s deeply felt book is a gentle, meditative and gorgeously animated rumination on life, friendship and purpose. While there is a narrative arc to the special, it doesn’t feel forced but instead true to the spirit of the more unstructured source material. A touching note to end the year on.

A Few More Worthwhile Debuts:

A Friend of the Family (Peacock) and Under the Banner of Heaven (hulu) – have yourself a Mormon true crime double-feature! (Or maybe don’t – they’re both intense!)

Grand Crew (NBC) – a fun network hangout sitcom with a winning cast

We Own the Streets (HBO) – a limited series based on a true story of police corruption in Baltimore that’s basically a Wire reunion

The Afterparty (Apple TV+) – come for the great cast and creators, stay for the incredible Ben Schwartz-focused musical episode!

Great Seasons of Returning Favorites:

5. Barry: Season 3 (HBO)

In its latest season, Barry is hard to watch but even harder to look away from, a show that feels as compellingly fractured as its characters, as pitch-black darkly comedic as ever. Hader’s titular Barry is less a person than a zombie at this point, in fruitless, soulless pursuit of some sort of purpose or redemption, which, [spoiler alert!] will not find him. Everyone else is likewise just spiraling out for most of the season, though some catharsis is found for certain parties in the final episode.

4. Stranger Things 4 (Netflix)

The fourth season of Stranger Things is as compulsively watchable as ever; still a pastiche of 80s Stephen King, Amblin Entertainment and John Hughes influences to be sure, but memorable characters, performances and production design transcend the cliches to create something worthwhile in its own right. The episode lengths this outing do start to feel a bit padded (especially the final two episodes/basically movies) but the added time spent with this cast helps to overlook the protracted plotting.

3. Better Call Saul: Season 6 (AMC)

Better Call Saul’s final season wastes no time in upping the drama with resolutions to its drug war plots coming fast and furious and culminating in a truly shocking mid-season finale that expertly sets the stage for its homestretch. While I find the momentum to fall off slightly in the last couple episodes, I can’t say anything should be different – after all, slippin’ Jimmy McGill is nothing if not an architect of self-sabotage and any other “happier” end to the series would stretch the limits of credulity.

2. Atlanta: Seasons 3 and 4 (FX)

The return of Atlanta in 2022 was a reminder that it is a show unlike anything else on television, a wholly unique vision full of powerful parables, off-the-wall humor and on occasion, surprising heart. Spring’s third season mixes culture clash comedy of the cast touring through various cities in Europe with several Twilight Zone-esque stand-alone episodes about race relations; what it lacks in narrative cohesion it makes up for in sheer boldness. Fall’s fourth and final season returns the action to Atlanta with fewer detours from the main cast (but, you know, the occasional faux documentary about A Goofy Movie), but focusing primarily on just one or two characters at a time. The final episode is a fitting ending for a series that always had a rhythm of its own even while it acknowledged influences such as Twin Peaks.

1. What We Do In The Shadows: Season 4 (FX)

Still the most consistently hilarious show on television, WWITS shows no signs of losing either its wit or edge. With new and bizarre situations including an amazing home makeover show parody, a visit to “The Night Market” and the entire life cycle of the creature that crawled out of the chest cavity of Colin Robinson, there is plenty to sink your teeth into (sorry, not sorry), even four seasons in.

Also Still Good:

The White Lotus: Season 2 (HBO)

Queer Eye: Season 6 (Netflix)

All Creatures Great and Small: Season 2 (PBS)

Girls5eva: Season 2 (Peacock)

Rutherford Falls: Season 2 (Peacock)

LEGO Masters: Season 3 (FOX)

#tv #television

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aaronmaurer · 1 year

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Movies I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

While my taste in film always tends to be a mix of crowd-pleasers and prestige fare, this year the contrast felt even starker. I call these lists things I “liked” rather than claiming they are the “best” because, though I can recognize when a film is a great work of art even if I never want to revisit it, I tend to want to share/highlight things I actually enjoy.

For example, TÁR is certainly a masterpiece that I found utterly riveting while watching, however, it’s also an uncomfortable and off-putting experience (which is of course, part of – if not entirely – the point). So the 10 films (and honorable mentions) that follow display a level of artistic acumen that resonated with me on multiple levels while also being movies I, you know, liked.

10. After Yang (Blu-ray, VOD, Showtime)

A lyrical science fiction film centered around a family’s relationship their robotic son, director Kogonada’s second effort is beautifully realized and deeply affecting. There are futuristic echoes of the likes of A.I. and Minority Report in the service of deep meditations on life, love and grief.

9. White Noise (Netflix)

Noah Baumbach’s movies are typically a few shades too caustic for my taste, I found but this adaptation of Don DeLillo’s postmodern novel an ideal artistic match. If the book is couched in fatalist black comic critique of Reaganism, then its relevance to our current Trumpist era (where the outsized cult of personality hovers over current politics even after his time in the White House) is perfectly apt. Willful ignorance, denial of death and unabashed consumerism abound, but so do critiques of ivory tower liberalism. The use of 80s filmic tropes to underline the deadpan nature of its setting and content is expertly realized, as is the perfectly (at times) indecipherable & unsettling sound design filled with lots of, what else, white noise.

8. Black Panther: Wakanda Forever (Theatres)

The best superhero film of the year is more emotionally affecting and more personal than most others in its genre, with writer-director Ryan Coogler and his cast grappling with the real-world death and absence of Chadwick Boseman. The result is kind of shaggy (especially compared to the efficiency of its predecessor), but also includes moments of dynamic action and gorgeous production and costume design, especially for newcomer Namor and his kingdom of Talokan. I also really appreciate an action movie that grapples with themes of revenge vs forgiveness/healing (and not in a way that feels wholly unearned, a la this year’s The Batman, but more like the unjustly maligned Spider-man 3); Shuri’s grief and anger are palpable as she wars with Namor – and herself – and her journey rings true.

7. Everything Everywhere All At Once (Blu-ray, VOD, Showtime)

The Daniels’ maximalist indie epic is wholly unsubtle but genuinely affecting. With themes as broad as the salvation of the multiverse being kindness and love, I suppose you need other broadness as well, including broad comedy (some of which I enjoyed, some of which I did not exactly enjoy while still admiring its audaciousness). Ultimately it is the fully realized performances, primarily those of Michelle Yeoh, Stephanie Hsu and Ke Huy Quan, that breathe life and humanity into the proceedings, making for a emotionally moving experience.

6. Confess, Fletch (VOD, Showtime)

Having never read any of the Fletch novels or seen the earlier Chevy Chase films, I really had no context for this movie, aside from being a fan of both director Greg Mottola’s Adventureland and the comedic chops of Jon Hamm. I found it to be quite a pleasant surprise, then: a fun whodunnit where the mystery is less important than hanging out with the characters, especially Hamm’s titular investigative journalist. This is the type of eminently rewatchable movie rarely made these days and I’d be quite content if the future finds us with plenty more Fletch adventures to go along with the exploits of Benoit Blanc.

4. (tie) Wendell & Wild (Netflix) / Guillermo del Toro’s Pinocchio (Netflix)

My two favorite animated films of the year both happen to be stop-motion features bankrolled by Netflix. They’re also both unique visions that don’t pander to a broad audience.

Director Henry Selick (The Nightmare Before Christmas, Coraline) created Wendell & Wild in collaboration with Jordan Peele and it’s a favorite of mine from each of their output (yeah, I liked it better than Nope). The design is a visual delight from start to finish and I found the story to be surprisingly resonant (an examination of grief and trauma as well as a critique of corporate interests and the prison industrial complex that also has a lot of great humor and a killer soundtrack).

Del Toro’s version of Pinocchio also features critiques of power, as he sets the tale in fascist Italy. Subverting the quite on-the-nose {ahem} morality of the original story, in del Toro’s vision, it is being yourself and not conforming to puppet-like assimilation that makes one worthy of the gift of life. The design here is stunning as well, especially in the creatures featured throughout.

3. She Said (Blu-ray, VOD, Peacock)

Add She Said alongside the likes of All The President’s Men and Spotlight as a worthy entry into the cannon of great films about investigative journalism. The true story of the New York Times’ investigation by Jodi Kantor and Megan Twohey into Harvey Weinstein’s crimes, it is a truly moving testament to the heroism and perseverance of these journalists and the incredible bravery of the women who chose to confront an ingrained patriarchal system of abuse. The lead performances by Carey Mulligan and Zoe Kazan are expertly pitched and fully lived in, while simultaneously allowing the stories of the women they interview to truly shine.

2. Glass Onion (Netflix)

Knives Out was my favorite film of 2019, so it was probably inevitable that its follow-up would make an appearance on my list. Thankfully, Glass Onion does not disappoint – it’s a “lighter” and perhaps broader mystery romp, but it is just as smartly constructed and excellently performed (by an entirely new cast of characters, aside from Daniel Craig’s returning Benoit Blanc). While lacking some of the depth of the social commentary of its predecessor, the caper still has a lot on its mind, and its reveals and takedown of the ultimate culprit is immensely satisfying.

1. Cyrano (Blu-ray, VOD, Amazon Prime)

Though technically a 2021 release for awards purposes, Joe Wright’s adaptation of Erica Schmidt’s stage musical Cyrano didn’t really release until February 2022 and it has stuck with me ever since (so much so that I saw it multiple times during its brief theatrical run). As a fan of the National, I was intrigued by the prospect of the music from that band’s Dessner brothers with lyrics by frontman Matt Berninger and his wife Carin, but was surprised at how much the songs moved me, especially as sumptuously staged by Wright. Hayley Bennett and Kelvin Harrison Jr shine as the pair of young lovers Cyrano reluctantly brings together through his words, but it is Peter Dinklage in the title role who is the heart of the film, exposing the soul of the lovelorn poet whose wit and bravado masks his self-doubt and pride.

Bonus! Honorable Mentions:

Doctor Strange in the Multiverse of Madness and Thor: Love and Thunder (Blu-ray, VOD, Disney+)

The original Doctor Strange and Thor: Ragnorak both rank in my top 5 Marvel films, so I was understandably excited for their follow-ups. And I left mostly satisfied, even if neither reaches the heights of its predecessor. Multiverse of Madness is allowed to be the MCU version of a horror film with plenty of ghoulish Sam Raimi flourishes, and I really loved the audacity of introducing a group of alternate reality heroes known as the Illuminati – including the first official MCU appearances of members of the X-Men and Fantastic Four – just to (spoiler alert!) quickly dispatch them. Love and Thunder tries to do a lot – maybe too much – but still contains great heart and humor typical of Taiki Watiti, plus a great go-for-broke villainous performance from Christian Bale as big bad Gorr the God Butcher. There is a stunning visual innovation on tap as well, displaying some of the most artistic uses of digital effects in recent memory (see the black & white battle sequence).

The Banshees of Inisherin (Blu-ray, VOD, HBOMax)

I quite enjoy Martin McDonagh’s latest (well, as much as one can enjoy such a film), but it doesn’t quite reach the heights of In Bruges for me. I would recommend it, however. As quietly beautiful as it is quietly devastating – yet with an abundance of humor, often served pitch-black.

Thirteen Lives (Amazon Prime)

Ron Howard’s presentation of the 2018 Thai cave rescue is immediate and compelling, relating just how many diverse parties came together for the massive and dangerous operation of saving the trapped soccer team and coach. While it doesn’t eclipse the excellent documentary The Rescue, there are benefits to dramatizing the story, such as glimpses into the Thai boys’ homelives and the sacrifices made by area farmers that enabled the mission to succeed.

Avatar: The Way of Water (Theatres)

More of a thrill ride or immersive experience than a normal movie, the second Avatar outdoes its predecessor in just about every way. The plot is (somewhat) more novel, the characters are more engaging and the effects more visceral and spellbinding. That said, for me, it’s an in-the-moment experience that I haven’t thought much about since leaving the theatre and I doubt would be anywhere near as exhilarating at home. I’m happy it exists but definitely don’t want all movies to be like this. (Plus I really hate high frame rate, especially the choice to arbitrarily cut back and forth between 24 and 48 fps in its director-approved presentation.)

#film

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aaronmaurer · 2 years

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Music I Liked in 2021

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I never claim to speak to general trends in music, as it’s such a subjective artform with such a large number of releases that has become even more niche over the past decade. My indie/alt-rock leaning taste is my taste and I connected with a number of records from old favorites and newer discoveries alike and I definitely recommend all of them. This is also one of those years where ranking them feels especially arbitrary; rather than do that, I split them into three tiers.

As a brief aside, in 2021 CD sales increased for the first time in over a decade; now, it’s possible this increase is solely attributable to TSwift and Adele, however, the main point is that physical media is still viable in the age of streaming. If you want to support artists, maybe considering canceling your streaming subscription and purchasing albums instead. CDs are much more affordable than vinyl, can be produced more efficiently and are more profitable for artists, just sayin.’ (At the very least consider buying digital albums via Bandcamp which has much greater benefits to an artist than streaming; why “lease” songs when you can “own” the files in perpetuity?)

Tier 3: Worth A Listen

Dayglow – Harmony House

The sophomore release from Austin-based Sloan Struble is a little more yacht-rock inflected than the bedroom synth pop of his debut, but it’s still a lot of fun. Seeing he and his band perform guitar-based music to a sea of receptive youth at Lollapalooza this summer was a real treat; the kids are alright!

Grouplove – This Is This

Grouplove released a surprise quarantine record at the beginning of the year and I was surprised to find I enjoy it a lot more than 2020’s more polished Healer. It may be a little clunky lyrically (see “Shake That Ass”) but its quasi-embarrassing qualities are so earnest they quickly become endearing – and the hooks are undeniable. Just a fun little under-the-radar rock album.

Hayley Williams – FLOWERS for VASES / descansos

Speaking of quarantine records, Paramore frontwoman Hayley Williams also delivered a surprise one last year on the heels of her 2020 solo debut. FLOWERS… is more stripped down than Petals for Armor, but contains beautifully intimate songcraft that complements that prior record very nicely.

Jon Foreman – Departures and Switchfoot – interrobang

Jon Foreman had a busy year, dropping both a new solo record as well as one with his band. While I can’t say these are my favorite albums from either project, they are both solid and the best moments on each would certainly comprise a strong top-5 album of the year contender.

Lord Huron – Long Lost

I am a big fan of Lord Huron but they have always been pastiche artists and never more so than on their latest record, which recalls bygone country and folk troubadours broadcasting from remote radio stations. This one is more pretty than memorable, but at the very least it provides some lovely background atmosphere.

Tier 2: Appointment Listening

Eddie Vedder, Glen Hansard, Cat Power and Olivia Vedder – Flag Day Original Soundtrack

I have not seen the Sean Penn film Flag Day, but critical consensus is that it’s not great. Its soundtrack, however, is terrific, featuring original material from the artists above. The Glen Hansard tracks are his best since his Swell Season output, in my opinion, and the vocals from Eddie Vedder’s daughter Olivia are a pleasant discovery.

Julien Baker – Little Oblivions

On her latest album, Julien Baker opens up her sound, adding full band instrumentation (performed almost entirely by herself on-record!) but remaining as lyrically raw as ever. Little Oblivions is an eviscerating document of her substance abuse and its effect on her relationships with others, culminating in the devastating “Ziptie” where she questions whether her mistakes are enough to cause even God to give up on her completely.

Manchester Orchestra – The Million Masks of God

Another blast of introspective and propulsive melodic rock, Manchester Orchestra’s latest deals with themes of grief, faith and purpose. Driving lead single “Bed Head” is a song of the year contender for me.

Modest Mouse – The Golden Casket

I honestly wasn’t expecting to connect much with a new Modest Mouse record but The Golden Casket surprised me with both its upbeat catchiness and occasional (albeit still caustic) optimism. This is one I kept returning to not only during the sunny summer months of its release but throughout the rest of the year as well.

Sufjan Stevens & Angelo De Augustine – A Beginner’s Mind

Sufjan Stevens began 2021 with a multi-album suite of instrumental electronic recordings, which would be enough for most artists, but in September he released this folksy acoustic-leaning collaboration with fellow singer-songwriter Angelo De Augustine. Inspired by a series of random movies the two watched together on a songwriting retreat – from Point Break to Night of the Living Dead – the songs are interesting a number of levels but are still captivating even without knowledge of the source material.

Tier 1: Highest Recommendation

Big Red Machine – How Long Do You Think It’s Gonna Last?

Although I’ve never really gotten into Bon Iver, I find Justin Vernon’s work with the National’s Aaron Dessner and others very compelling. This latest record from the duo’s Big Red Machine project features a stellar cast of collaborators including Taylor Swift, Anaïs Mitchell, Robin Pecknold, Ben Howard and more, who bring an almost mixtape-like feeling to the proceedings yet with more thematic coherence than that classification sometimes implies.

CHVRCHES – Screen Violence

The latest release from Scotland’s CHVRCHES finds frontwoman Lauren Mayberry interrogating social media’s malicious impact on individuals, specifically women, through the metaphor of a horror film. The result is some of the most urgent, effective and flat-out catchy music the band has released yet, with nods to 80s synth pop including a pitch-perfect appearance from the Cure’s Robert Smith.

Geographer – Down and Out in the Garden of Earthly Delights

In 2019, following a couple LPs that I didn’t really connect with, Michael Deni released the New Jersey EP which quickly became one of my favorites of that year. Down and Out… continues this winning streak with a collection of fantastic new synth pop jams that still allow his haunting falsetto to shine. It’s rare for a 15-track record (20, if you include the B-sides packaged with it) to be as consistent and engaging the whole way through as this one is. Perhaps my favorite album of the year.

Japanese Breakfast – Jubilee

“Paprika,” the opening track on Michelle Zauner’s third album, begins quietly with some discordant instrumentation that quickly gives way to a joyfully upbeat rush of melody, layered vocals and even a horn section, and never loses steam from there. The record is a beautiful and fun piece of dream pop, at various moments recalling not only that microgenre’s progenitors but also the lush atmosphere of a Won Kar-wai film or smoky neon haze of Destroyer’s Kaputt.

The Killers – Pressure Machine

The Killers continue their unexpected mid-career resurgence with Pressure Machine, following 2020’s excellent Imploding the Mirage. I had thought I only wanted larger-than-life, arena-ready bombast from the band and was skeptical of a more stripped down, storytelling focus, yet here Brandon Flowers & Co are with one of the year’s best records. Recalling the small Nevada community of his youth, Flowers sketches portraits of both specific individuals and the American West at large with a deft touch that shines an empathetic light on the “quiet towns” often overlooked in today’s discourse.

BONUS! Favorite EPs of the Year

Jaguar Sun x Jesse Maranger – Blooms

Canadian musician friends Jaguar Sun and Jesse Maranger linked up for this (too brief!) 4-song EP that finds them alternating vocals across the tracks while creating captivating soundscapes.

Beach Bunny – Blame Game

Chicago’s Beach Bunny get even better with every release and their 2021 offering is no exception, with abundant pop smarts and unabashedly feminist lyrical savvy.

Here’s a playlist of songs from each of these records for your sampling pleasure:

#music

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aaronmaurer · 2 years

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TV I Liked in 2021

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Television in 2021 seemed even more fragmented and ephemeral than ever. With even major networks debuting original content on streaming platforms rather than their over-the-air channels these days, it can be difficult to keep tabs on what’s being released and when, plus episode orders are rarely even making it to 13, with most of the shows below landing at 10, 8 or even just 6 installments. While I am strongly in favor of shorter seasons, which definitely leads to more consistency and quality than the 22-24 episode orders of yesteryear, it can also mean that certain series that are here one weekend are quickly forgotten the next. But I suppose that means those that stick with you are all the more notable. For 2021, I figured I’d break up my favorites into new picks, returning favorites and Marvel’s offerings on Disney+.

New and Notable:

5. Rutherford Falls: Season 1 (Peacock)

The latest comedy of human decency from co-creator Michael Schur (Parks & Recreation, The Good Place), Rutherford Falls (kindly) interrogates white ally-ship and the foundational myths of the United States. Ed Helms stars as the descendant of a family who established a namesake town (allegedly) in collaboration with the Native inhabitants, but the series smartly and refreshingly centers Jana Schmieding’s Reagan, Michael Greyeyes’ Terry and the rest of its Native cast as more layers to the community’s foundational myths are revealed. Paul F. Tompkins’ turn as a local historian is a deranged delight.

4. Mare of Easttown (HBO)

This limited series from creator Brad Ingelsby is successful not just because of its interesting subversion of procedural expectations (actually letting the audience spend a full episode with the person whose murder will be the show’s central investigation, bringing one of the primary mysteries to resolution two episodes before the finale, etc. etc.) but primarily because of its lived-in world and the humanity of its ensemble of characters. Kate Winslet is great in the lead role, but her entire supporting cast is pitch-perfect, and while the plotting occasionally threatens to strain credibility, it mostly stays on the side of plausible and offers satisfying resolutions.

3. Girls5eva: Season 1 (Peacock)

It’s no secret that I’m in the bag for the comedic sensibility of producers Tina Fey and Robert Carlock (30 Rock, Unbreakable Kimmy Schmidt) and their new series from creator Meredith Scardino provides another dose of rapid-fire jokes and acerbic wit. The cast, featuring Sara Bareilles, Busy Philipps and Paula Pell, is uniformly great, but the surprise comic breakout is Hamilton’s Renée Elise Goldsberry who delivers a hysterical performance as the diva of the group.

2. All Creatures Great and Small: Season 1 (PBS)

The first season of this new adaptation of the life and writings of Scottish veterinarian James Herriot debuted in the US last January, a warm blanket of a series in the middle of a bleak winter. There is something to be said for the soothing and kind nature of the series, which I looked forward to every Sunday to impart some peace for the week ahead. (Season two is currently airing.)

1. Dopesick (hulu)

Dopesick is a bleak and disconcerting, yet also compelling and moving, limited series about the opioid epidemic, specifically Purdue Pharma’s malicious marketing of OxyContin and the government investigations that ultimately proved their malfeasance. None of its plotting would be effective without a sense of the human cost involved, however, and heart-breaking performances by Michael Keaton as a doctor at a rural clinic and Kaitlyn Dever as a mine worker who is prescribed the medicine after a workplace injury bring a real sense of urgency to the proceedings.

Great Seasons of Returning Favorites:

5. The Great: Season 2 (hulu)

The second season of Tony McNamara’s fictionalized Catherine the Great dramady picks right back up with the same dry and cutting humor. New wrinkles emerge in Catherine and Peter’s love-hate relationship, as she navigates their pregnancy and his attempts to undermine her rule all while trying to introduce culture and education to a hostile, traditionalist and ultra-patriarchal society.

4. LEGO Masters: Season 2 (Fox)

I neglected to mention the first American season of LEGO Masters last year, but it was a true joy during lockdown and inspired me to restart a (small) LEGO collection. Season 2 is just as fun, with a cast of amazing builders facing insane challenges week-to-week and the return of Will Arnett’s perfectly over-the-top bluster as host.

3. How To with John Wilson: Season 2 (HBO) and Joe Pera Talks With You: Season 3 (Adult Swim, HBOMax)

I don’t know if it’s fair to call John Wilson’s memoir-ish docuseries and Joe Pera’s scripted short-form comedy “similar,” but they both give me the same sense of calm sincerity, wistful comfort and everyday wonder. They’re also both are quite funny as well, whether stemming from the idiosyncrasies of offbeat subcultures in John Wilson or the lived-in world-building of Joe Pera – just wait ’til Joe shows you his favorite school-appropriate movie, The Adventures of Otto.

2. Ted Lasso: Season 2 (Apple TV+)

Ted Lasso, both the show and the character, gets more complicated and messy in Season 2, but never loses its trademark heart and spirit. The introduction of team psychologist Dr. Sharon Fieldstone gives Ted the opportunity to finally confront his demons, and a certain character’s heel-turn feels appropriately disappointing yet understandable, as not everyone is going to overcome their baggage without doing work just because they’re around someone as relentlessly positive as Ted. Some plotlines worked a bit better for me than others, but nitpicking a show this warm and generous is an exercise in self-defeat.

1. What We Do In The Shadows: Season 3 (FX)

WWITS is still the best comedy on TV in its third season, expanding the show’s universe in absurd and laugh-out-loud hilarious ways while even managing to slip in the occasional moment of poignancy. Unexpected pairings of certain characters this season pay great dividends, especially the plots involving Laszlo’s befriending of Colin Robinson. And the episode where the group travels to Atlantic City at the invitation of their clueless neighbors is chock-full of comic gold.

Marvel on Disney+:

Does it really make sense to include Marvel’s roster of limited series for Disney+ with everything else? More-or-less existing to provide connective tissue between various film franchises, these shows have consistently high production values and are all pretty fun, yet are somewhat dubious in terms of providing satisfying story arcs (they’re basically the MCU equivalents of those asterisks you see in comic books directing you to other issues). Even so, they were each appointment viewing for me this year and are heads above most of the CW’s “Arrowverse” shows (the quite good Stargirl and Superman and Lois being possible exceptions), so rather than trying to rank them among the rest of my favorites, I figured I’d compare them with each other.

5. What If…?: Season 1

Featuring innovative animation and a voice cast featuring many MCU actors reprising their roles (including Chadwick Boseman’s final appearances as T’Challa), this series is most effective when it sticks to its anthology roots. Trying to build an overarching narrative between episodes had the paradoxical effect of making everything feel less grand & epic to me, and in general, the series just has a baked-in triviality as we know these aren’t the “real” versions of our characters. All that said, the Dr. Strange-focused episode “What If... Doctor Strange Lost His Heart Instead of His Hands?” is fantastic and displays the true potential of the format. (C )

4. The Falcon and the Winter Soldier

An unfortunate case of the whole being lesser than the sum of its parts, this series is packed with interesting ideas and characters but struggles to have them cohere into a consistent and impactful story. Captain America: The Winter Soldier is my favorite MCU film, so I had high hopes for this series as it seemed to carry a lot of the same DNA, and indeed the action sequences are among the best-looking on television and the performances from Anthony Mackie, Sebastian Stan and their entire supporting cast are quite good. Those features can’t overcome some inconsistent characterizations, a surprising dearth of humor for a “buddy comedy” and meandering plotting reminiscent of the bloat of Netflix’s Marvel shows (though props for it only being 6 episodes rather than 13 or something). I am glad Sam Wilson has finally claimed his mantle as the new Captain America and it’s rewarding to see the internal struggle he experiences to accept it, but it doesn’t feel like anyone who skips this between Endgame and the next Cap movie will have missed anything consequential, sadly. (B-/C+)

3. Loki: Season 1

Perhaps the series I was least interested in of Marvel’s initial Disney+ slate, Loki vastly exceeded my expectations and is quite simply just a lot of fun. Exploring alternate timelines and the seeds of the multiverse, the series introduces versions of Tom Hiddleston’s titular character from multiple realities as he tries to avoid being “pruned” from existence by the Time Variance Authority. Owen Wilson’s co-starring role as TVA agent Mobius is great stuff, and this first season’s payoff – while definitely place-setting – is still quite satisfying. (B+)

2. Hawkeye

The heart of Hawkeye is Hailee Stanfield’s Kate Bishop and the reluctant mentee-mentor relationship she forms with Jeremy Renner’s Clint Barton. Who would have guessed that the banter in this series would make for better comedy than that in Falcon and the Winter Soldier? Its Christmas setting is an inspired choice and provides a great ticking clock deadline as Barton tries to wrap up complications with the criminal underworld and make it home to his family before the holiday. [I do have to acknowledge that this falls into the same giant suspension-of-disbelief problem nobody talks about with Die Hard – NO ONE holds a holiday party on CHRISTMAS EVE NIGHT! 😉] The series also does a great job honoring Black Widow’s sacrifice in Endgame and dealing with the grief of that loss both in Barton’s life and that of her “sister” Yelena. This is one I really hope we get a second season announcement for, because I’d love to see more of the Barton-Bishop partnership develop, as well as exploration of some of the other storylines from the Fraction-Aja comic run that this series takes a deal of inspiration from (Kate in LA, please?). (A-)

1. WandaVision

The unexpectedly perfect series at the perfect time, WandaVision launched as Marvel’s first Disney+ show after Covid-induced production delays pushed back The Falcon and the Winter Soldier. It couldn’t have been a better happy accident, as the series brought the MCU proper to television while paying homage to classic television series through the decades. At its heart an examination of grief and trauma, the series also had unique resonance a year into the pandemic. There are also just so many clever touches and meta Easter Eggs at play, from the casting of the Fox X-Men series’ Quicksilver, Evan Peters, as someone claiming to be Wanda’s brother to the inclusion of Kat Dennings and Randall Park, MCU actors with a history in sitcoms, for this tribute to TV. And all of that before even mentioning the incredible performances from Paul Bettany and Elizabeth Olsen, who deftly act their way through a variety of different comedic and dramatic styles as each episode requires. While I’ve read some criticism that the show’s conclusion becomes just another generic MCU CGI battle, I disagree, finding that the action serves both character and plot and leads to a very fulfilling, if bittersweet, ending. (A)

#tv #television

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aaronmaurer · 2 years

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Movies I Liked in 2021

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2021 marked a tentative return to moviegoing, with theatres reopening and long-delayed films finally seeing release (though not always without multiple reschedulings). Due to mask requirements and the availability of vaccines, I felt comfortable venturing out to see a lot of things on the big screen, and whether just due to a backlog of 2020 releases or an abundance of pent-up creativity, I found 2021’s offerings to be very strong. Here are my 10 favorites of the year (and some bonus recommendations).

10. C’Mon C’Mon (VOD)

There is no shortage of emotionally-stunted-adult-meets-adorable-moppet-and-becomes-a-better-person movies out there, but Mike Mills’ latest is surprisingly affecting and beautifully observed. Joaquin Phoenix’s performance as an absentee uncle who reconnects with his nephew during a period of family drama is naturalistic, warm and humane. This one resonated deeply with me as a single adult (and new uncle) who deeply desires to have children.

9. The Last Duel (Blu-ray, VOD, HBOMax)

Ridley Scott’s criminally underseen historical drama interrogates ideas of chivalry and patriarchy in medieval France through a Rashomon-style multi-perspective presentation of its narrative. Excellent and multi-layered performances from Jodie Comer, Matt Damon and Adam Driver bring the material to life in illuminating detail. Content warning: the film features a truly harrowing and heart-rending scene of sexual assault that, while not exploitative, is difficult to watch.

7. (tie) Dune: Part One (Blu-ray, VOD) / Spider-Man: No Way Home (Theatres)

My favorite mega-budget blockbusters of the year are both best experienced writ large, on the biggest screens possible. As a total Dune newbie, I find Denis Villeneuve’s epic take on the notoriously dense material to be engaging and comprehensible with some of the most immersive world-building since the Lord of the Rings trilogy. The only caveat is that, being an adaptation of the first half of a novel, it’s an incomplete story so I really have to reserve full judgement until Part Two (or I guess I could go read a book or something…).

No Way Home also manages to satisfy, with heart and depth that most of Hollywood’s vacuous “spot-the-reference” franchise extensions sorely lack [stares long and hard at Ghostbusters: Afterlife]. As a long-time Spider-Fan, I was very nervous about the introduction of the multiverse and unification of the MCU’s reality with previous Spidey franchises (while I love the original trilogy and am even an apologist for Spider-Man 3, the Andrew Garfield movies are money-grabbing disasters). The film dances on the knife’s edge between inspired storytelling and hacky fan service and somehow ends up on the right side (to me anyway), with plot choices that move the story forward and deepen Tom Holland’s Peter Parker while also giving long-time fans plenty to cheer – and get choked up – about.

6. Street Gang: How We Got to Sesame Street (Blu-ray, VOD, HBOMax)

My favorite documentary of the year (and a movie I actually braved a theatre pre-pandemic to see) is this look at the creation of Sesame Street and its early years. Based in part on a 2008 book of the same name, this is actually a case where the movie is better (or at least more consistent and focused) than the source material, offering a compelling glimpse of what is possible when truly altruistic visionaries come together in service of the common good. One of the most inspirational portraits of creativity I have ever seen.

5. The French Dispatch (Blu-ray, VOD)

Wes Anderson’s latest curio is another immaculately detailed feat of world-building, this time presenting a fictional New Yorker-inspired magazine office in France and offering an anthology of the stories comprising its final issue. Each vignette offers homages to different auteurs and genres, and the in-camera tableaus he creates are alone worth the price of admission. A breezy, yet not saccharine, delight of a film.

3. (tie) In The Heights (Blu-ray, VOD, HBOMax) / West Side Story (Theatres)

Two fantastic musical adaptations that aren’t ashamed to be musicals, John Chu’s In The Heights and Steven Spielberg’s West Side Story both feature New York’s Puerto Rican community at different points in modern history. The updates to both shows’ books to better reflect the lived realities of their subjects as well as the intentional (if imperfect) casting of all Latinx people in Latinx roles bring new relevance to each story. I’ve honestly never connected with WWS much, but Spielberg’s directorial and compositional skill are second to none and he brings the material back to life in fresh and exciting ways. Similarly, In The Heights turns each musical number into a celebratory event, from a Busby Berkeley-inspired water ballet at a neighborhood pool to a dance up the side of an apartment building. Two of the best stage-to-screen translations in at least the past twenty years.

2. The Green Knight (Blu-ray, VOD)

David Lowery’s interpretation of Arthurian legend is a sumptuous visual and auditory feast with a winning lead performance from Dev Patel. Dream logic dominates the narrative, but the filmmaking is more propulsive than ponderous, even as it makes time for meditative interludes. An enthralling and entrancing deconstruction of masculinity and chivalric code from beginning to end.

1. Nine Days (Blu-ray, VOD)

Writer-director Edson Oda’s debut feature is a moving portrait of the human experience and tribute to the beauty of existence. Winston Duke gives a bravura performance as Will, a “pre-life” facilitator who interviews souls for the opportunity to be born, with a fantastic supporting cast and gorgeous score from Antonio Pinto. Its setting and style exists somewhere at the nexus of Terrance Malick’s Tree of Life, Pixar’s Soul and the “TVA” from Marvel’s Loki series (so basically right up my alley). It might be too heightened for some, but this is the type of art that both honors sensitivity and makes you feel a little less alone in the world. Highest recommendation.

Bonus! Honorable Mentions:

The Tragedy of MacBeth (Theatres, Apple TV+)

Joel Coen’s Shakespeare adaptation is visually stunning, using stark black and white to create stage-y, but not stagebound, dreamscapes that owe a debt to German expressionism and the Avant-garde.

Summer of Soul (hulu)

Questlove’s documentary about the largely forgotten 1969 Harlem Cultural Festival is an enlightening and inspiring snapshot of Black life, Black joy, Black art and Black excellence, as well as a stark reminder of which narratives American culture chooses to remember and celebrate versus which it chooses to disregard or discount. Thanks to this film, iconic performances from the likes of Stevie Wonder, Nina Simone, Sly and the Family Stone, Mahalia Jackson and many more are no longer consigned to the dustbin of history.

Black Widow (Blu-ray, VOD, Disney+)

While I enjoyed Shang-Chi and The Eternals to varying degrees as well, my second favorite MCU film of the year was the long-overdue solo outing for Scarlett Johansson’s Widow. Casting the superhero film as a spy thriller with some great comedy mined from its Americans-esque sleeper-cell-family reunion is an inspired touch, however, it’s hard to escape the feeling of inconsequence given we already know the titular character’s outcome. It’s too bad Marvel didn’t see fit to actually produce this one after Civil War, when it’s set.

No Time To Die (Blu-ray, VOD)

Daniel Craig’s final turn as James Bond is a little too long and over-stuffed, but I have to give it some props for bringing closure to a character that has never been afforded any. It features a bevy of fun set pieces, but some of the most compelling action resides in the scenes that place you right with Bond as he navigates a shootout in a narrow stairwell or faces uncertain threats in a foggy forest, nice nods to the first-person feel of the classic N64 Goldeneye game, intentional or not.

Double Bonus! 2021 Holdovers:

With the 2020 release schedule a huge mess and most of last year’s awards ceremonies being delayed to spring and extending their qualification deadlines, it’s hard to say what counts as a 2020 vs 2021 film. These weren’t widely available until early 2021, so I’d be remiss not to acknowledge their excellence as well.

Nomadland (Blu-ray, VOD, hulu)

Judas and the Black Messiah (Blu-ray, VOD, HBOMax)

One Night in Miami (Blu-ray, Amazon Prime)

The Father (Blu-ray, VOD, Starz)

#film

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aaronmaurer · 3 years

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TV I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Was there ever a year more unpredictably tailor-made for peak TV than 2020? Lockdowns/quarantines/stay-at-home orders meant a lot more time at home and the occasion to check out new and old favorites. (I recognize that if you’re lucky enough to have kids or roommates or a S.O., your amount of actual downtime may have been wildly different). While the pandemic resulted in production delays and truncated seasons for many shows, the continued streaming-era trends of limited series and 8-13 episode seasons mean that a lot of great and satisfying storytelling still made its way to the screen. As always, I in no way lay any claims to “best-ness” or completeness – this is just a list of the shows that brought me the most joy and escapism in a tough year and therefore might be worth putting on your radar.

10 Favorites

10. The Right Stuff: Season 1 (Disney+)

As a space program enthusiast, even I had to wonder, does the world really need another retelling of NASA’s early days? Especially since Tom Wolfe’s book has already been adapted as the riveting and iconoclastic Philip Kaufman film of the same name? While some may disagree, I find that this Disney+ series does justify its existence by focusing more on the relationships of the astronauts and their personal lives than the technical science (which may be partially attributable to budget limitations?). The series is kind of like Mad Men but with NASA instead of advertising (and real people, of course), so if that sounds intriguing, I encourage you to give it a whirl.

9. Fargo: Season 4 (FX)

As a big fan of Noah Hawley’s Coen Brothers pastiche/crime anthology series, I was somewhat let down by this latest season. Drawing its influence primarily from the likes of gangster drama Miller’s Crossing – one of the Coens’ least comedic/idiosyncratic efforts – this season is more straightforward than its predecessors and includes a lot of characters and plot-threads that never quite cohere. That said, it is still amongst the year’s most ambitious television with another stacked cast, and the (more-or-less) standalone episode “East/West” is enough to make the season worthwhile.

8. The Last Dance (ESPN)

Ostensibly a 10-episode documentary about the 1990s Chicago Bulls’ sixth and final NBA Championship run, The Last Dance actually broadens that scope to survey the entire history of Michael Jordan and coach Phil Jackson’s careers with the team. Cleverly structured with twin narratives that chart that final season as well as an earlier timeframe, each episode also shifts the spotlight to a different person, which provides focus and variety throughout the series. And frankly, it’s also just an incredible ride to relive the Jordan era and bask in his immeasurable talent and charisma – while also getting a snapshot of his outsized ego and vices (though he had sign-off on everything, so it’s not exactly a warts-and-all telling).

7. The Queen’s Gambit (Netflix)

This miniseries adaptation of the Walter Tevis coming-of-age novel about a chess prodigy and her various addictions is compulsively watchable and avoids the bloat of many other streaming series (both in running time and number of episodes). The 1960s production design is stunning and the performances, including Anya Taylor-Joy in the lead role, are convincing and compelling.

6. The Great: Season 1 (hulu)

Much like his screenplay for The Favourite, Tony McNamara’s series about Catherine the Great rewrites history with a thoroughly modern and irreverent sensibility (see also: Sofia Coppola’s Marie Antoinette). Elle Fanning brings a winning charm and strength to the title role and Nicholas Hoult is riotously entertaining as her absurdly clueless and ribald husband, Emperor Peter III. Its 10-episodes occasionally tilt into repetitiveness, but when the ride is this fun, why complain? Huzzah!

5. Dispatches From Elsewhere (AMC)

A limited (but possibly anthology-to-be?) series from creator/writer/director/actor Jason Segal, Dispatches From Elsewhere is a beautiful and creative affirmation of life and celebration of humanity. The first 9 episodes form a fulfilling and complete arc, while the tenth branches into fourth wall-breaking meta territory, which may be a bridge too far for some (but is certainly ambitious if nothing else). Either way, it’s a movingly realized portrait of honesty, vulnerability and empathy, and I highly recommend visiting whenever it inevitably makes its way to Netflix, or elsewhere…

4. What We Do in the Shadows: Season 2 (FX)

The second season of WWDITS is more self-assured and expansive than the first, extending a premise I loved from its antecedent film – but was skeptical could be sustained – to new and reinvigorated (after)life. Each episode packs plenty of laughs, but for my money, there is no better encapsulation of the series’ potential and Matt Berry’s comic genius than “On The Run,” which guest-stars Mark Hamill and features Laszlo’s alter ego Jackie Daytona, regular human bartender.

3. Ted Lasso: Season 1 (AppleTV+)

Much more than your average fish-out-of-water comedy, Jason Sudeikis’ Ted Lasso is a brilliant tribute to humaneness, decency, emotional intelligence and good coaching – not just on the field. The fact that its backdrop is English Premier League Soccer is just gravy (even if that’s not necessarily represented 100% proficiently). A true surprise and gem of the year.

2. Mrs. America (hulu)

This FX miniseries explores the women’s liberation movement and fight for the Equal Rights Amendment in the 1970s and its opposition by conservative women including Phyllis Schlafly. One of the most ingenious aspects of the series is centering each episode on a different character, which rotates the point of view and helps things from getting same-y. With a slate of directors including Ryan Bowden and Anna Fleck (Half-Nelson, Sugar, Captain Marvel) and an A-List cast including Cate Blanchett, Rose Byrne, Uzo Aduba, Sarah Paulson, Margo Martindale, Tracey Ulman and Elizabeth Banks, its quality is right up there with anything on the big screen. And its message remains (sadly) relevant as ever in our current era.

1. The Good Place: Season 4 (NBC)

It was tempting to omit The Good Place this year or shunt it to a side category since only the final 4 episodes aired in 2020, but that would have been disingenuous. This show is one of my all-time favorites and it ended perfectly. The series finale is a representative mix of absurdist humor and tear-jerking emotion, built on themes of morality, self-improvement, community and humanity. (And this last run of eps also includes a pretty fantastic Timothy Olyphant/Justified quasi-crossover.) Now that the entire series is available to stream on Netflix (or purchase in a nice Blu-ray set), it’s a perfect time to revisit the Good Place, or check it out for the first time if you’ve never had the pleasure.

5 of the Best Things I Caught Up With

Anne With An E (Netflix/CBC)

Another example of classic literature I had no prior knowledge of (see also Little Women and Emma), this Netflix/CBC adaptation of Anne of Green Gables was strongly recommended by several friends so I finally gave it a shot. While this is apparently slightly more grown-up than the source material, it’s not overly grimdark or self-serious but rather humane and heartfelt, expanding the story’s scope to include Black and First Nations peoples in early 1800s Canada, among other identities and themes. It has sadly been canceled, but the three seasons that exist are heart-warming and life-affirming storytelling. Fingers crossed that someday we’ll be gifted with a follow-up movie or two to tie up some of the dangling threads.

Better Call Saul (AMC)

I liked Breaking Bad, but I didn’t have much interest in an extended “Breaking Bad Universe,” as much as I appreciate star Bob Odenkirk’s multitalents. Multiple recommendations and lockdown finally provided me the opportunity to catch up on this prequel series and I’m glad I did. Just as expertly plotted and acted as its predecessor, the series follows Jimmy McGill/Saul Goodman on his own journey to disrepute but really makes it hard not to root for his redemption (even as you know that’s not where this story ends).

Joe Pera Talks With You (Adult Swim)

It’s hard to really describe the deadpan and oddly soothing humor of comedian Joe Pera whose persona, in the series at least, combines something like the earnestness of Mr. Rogers with the calm enthusiasm of Bob Ross. Sharing his knowledge on the likes of how to get the best bite out of your breakfast combo, growing a bean arch and this amazing song “Baba O’Reilly” by the Who – have you heard it?!? – Pera provides arch comfort that remains solidly on the side of sincerity. The surprise special he released during lockdown, “Relaxing Old Footage with Joe Pera,” was a true gift in the middle of a strange and isolated year.

The Mandalorian (Disney+)

One of the few recent Star Wars properties that lives up to its potential, the adventures of Mando and Grogu is a real thrill-ride of a series with outstanding production values (you definitely want to check out the behind-the-scenes documentary series if you haven’t). I personally prefer the first season, appreciating its Western-influenced vibes and somewhat-more-siloed story. The back half of the second season veers a little too much into fan service and video game-y plotting IMHO but still has several excellent episodes on offer, especially the Timothy Olyphant-infused energy of premiere “The Marshall” and stunning cinematography of “The Jedi.” And, you know, Grogu.

The Tick (Amazon Prime)

I’ve been a fan of the Tick since the character’s Fox cartoon and indie comic book days and also loved the short-lived Patrick Warburton series from 2001. I was skeptical about this Amazon Prime reboot, especially upon seeing the pilot episode’s off-putting costumes. Finally gaining access to Prime this year, I decided to catch up and it gets quite good!, especially in Season 2. First, the costumes are upgraded; second, Peter Serafinowicz’s initially shaky characterization improves; and third, it begins to come into its own identity. The only real issue is yet another premature cancellation for the property, meaning Season 2’s tease of interdimensional alien Thrakkorzog will never be fulfilled. 😢

Bonus! 5 More Honorable Mentions:

City So Real (National Geographic)

The Good Lord Bird (Showtime)

How To with John Wilson: Season 1 (HBO)

Kidding: Season 2 (Showtime)

Unbreakable Kimmy Schmidt: Kimmy Vs The Reverend (Netflix)

#tv #television

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aaronmaurer · 3 years

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Movies I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Discussing film in 2020 is almost nonsensical. Theatres were shut down in most places for most of the year, shuffling release schedules and availability of titles in various markets, further fracturing an already-fragmented landscape. I personally love the movie-going experience – the darkened atmosphere, the massive screen, the ability to escape the outside world for a couple hours in the company of a room of strangers. Man, do I miss all of that. Yet I am exceedingly grateful to the creators and media conglomerates that decided to release some of their projects to streaming services and “virtual cinemas” during this unprecedented year. (Despite Wonder Woman 1984’s flaws, wow, was it nice to have a new action blockbuster to watch over the holidays.)

I toyed with breaking out stage/theatre projects separately, but at the end of the day, had those played on the big screen they would have still been considered, so I decided to keep everything together. This year more than ever I make no claims to comprehensiveness, and it seems even more futile than usual to rank these films, so here are 15 of my favorite films of 2020 listed in alphabetical order. How I wish I could have experienced these all on the big screen.

American Utopia (available on HBO)

Spike Lee’s film of the Broadway engagement of David Byrne’s American Utopia is right up there with Jonathan Demme’s Stop Making Sense, the gold standard of concert films (and I’m not even much of a Talking Heads/Byrne fan!). The brilliance of this tour-turned-Broadway show is the elimination of any stationary equipment – Byrne and his band, utilizing mobile instruments, perform choreographed movement to the songs (a mix of Byrne solo material and Talking Heads classics) on an otherwise bare stage. The arrangements of the songs themselves are warm and life-affirming, something we all needed more of in 2020.

An American Pickle (available on HBOMax)

This quirky comedy from writer Simon Rich stars Seth Rogan in dual roles as an immigrant in the early 1900s transplanted to modern day New York and his last remaining descendant. I wasn’t expecting much from the premise but found it to be a surprisingly resonant story about family and legacy with salient observations about modern conveniences and appreciating small pleasures. Rogan himself is really great in this, creating two very distinct and believable characters that in an alternate reality might be up for awards consideration.

Black Is King (available on Disney+)

Beyonce’s latest visual album has its origins in her Lion King role, but the material transcends that misbegotten remake (despite the occasional out-of-place audio clips sprinkled throughout). The visuals here are stunning, from the costumes and makeup to the set design and choreography, all in celebration of Black excellence and beauty.

Emma. (available on HBO, VOD and Blu-ray)

One of the last films I saw in theatres this spring was the latest treatment of Jane Austen’s Emma from director Autumn de Wilde. Similar to Little Women last year, I had no prior experience with the source material, never having read the novel or seen any prior adaptations (outside of Clueless, if you count that), but I found it absolutely delightful. The cast is terrific, including Anya Taylor-Joy in a role completely different than her other big turn this year in The Queen’s Gambit, and the production design & direction are impeccably sumptuous, creating the type of escapism that came to mean all-the-more as the year wore on.

First Cow (available on Showtime, VOD and Blu-ray)

Kelly Reichardt’s latest film is a moving meditation on unexpected friendship, ideas of masculinity and economic inequality set against the backdrop of 1800s Oregon Country. Poetic but not ponderous, First Cow is one of the most humane and empathetic portraits of man and nature I experienced in 2020.

Hamilton (available on Disney+)

Already a big of Lin Manual-Miranda’s race-bent musical about founding father Alexander Hamilton, I was still awed by this document of the original Broadway production. Director Tommy Kail adeptly films his own stage direction while capturing intimate moments through closeups and vantages that are unavailable to the live audience. And while I personally may have preferred Lin to sing more than sob through some of his Act II songs, the whole cast is phenomenal, especially Leslie Odom Jr, Renée Elise Goldsberry and MVP Daveed Diggs whose energy and charisma are palpable in his dual role as Lafayette/Jefferson.

Just Mercy (available on HBO, VOD and Blu-ray)

Although technically a 2019 film, Just Mercy didn’t receive wide release until 2020 so I’m including it here. The adaptation of lawyer Bryan Stevenson’s memoir about his fight for death row inmates is a powerful story of the ongoing fight for justice and rarely falls into “based on a true story”/biopic clichés. Michael Jordan brings dignity and righteousness to the role of Stephenson and Jamie Foxx is excellent as the wrongfully incarcerated Walter McMillian.

Kajillionaire (available on VOD)

The story of an insular family of grifters, Kajillionaire explores what it’s like to exist in a bubble and reconcile that with a growing understanding of the wider world. Evan Rachel Wood engenders immense empathy with her portrayal of the family’s daughter who has been raised without any real physical affection or affirmation and Gina Rodriguez exudes light and charisma as a woman who comes into their orbit and changes everything.

Ma Rainey’s Black Bottom (available on Netflix)

Adapted from August Wilson’s play of the same name, this film contains a powerhouse performance from Viola Davis as the titular blues singer but belongs to the magnetic Chadwick Boseman in his final role. As Levee, a brash young songwriter and musician, Boseman fully realizes a portrait of a talented and demeaned Black man in America, trapped by circumstance and his own feelings of helplessness. It’s beautiful and gut-wrenching to behold, and makes his passing all the more tragic as we can only imagine the great performances that we’ll never get to see.

Mank (available on Netflix)

Mank, a biopic about Golden Age Hollywood screenwriter Herman Mankiewicz, may be director David Fincher’s most conventional film yet, however that takes nothing away from the charm of its engaging storytelling and performances. As “Mank” works – or rather drunkenly procrastinates – on the screenplay for Citizen Kane, we get flashbacks of his relationships with William Randolph Hearst and Marion Davies, which will provide the basis for his script’s thinly veiled characters.

Small Axe (available on Amazon Prime)

A series of five separate films from director Steve McQueen, the Small Axe series is linked by its exploration of the West Indian community in London. Exploring topics including the justice system, educational disparity and the unifying & life-affirming power of music, these films are each powerful and moving on their own but add up to a rich and beautiful tapestry of the complexities of immigrant life.

Soul (available on Disney+)

Soul is in many ways a spiritual successor (pun intended) to Inside Out, my all-time favorite Pixar film, envisioning life after death (or is that life before life?) as a strange and delightfully stylized realm where new souls prepare to be born. The audience surrogate to this world is a frustrated jazz musician who finds himself incapacitated the day of his big break. The stunningly rendered film is another example of the studio – and co-director Pete Docter – at its heart-rending best with lovely observations about passion, mentorship and being present to life’s small pleasures.

The Vast of Night (available on Amazon Prime)

An indie sci-fi flick set in 1950s New Mexico from first-time director Andrew Patterson, The Vast of Night pays homage to the likes of The Twilight Zone better than the current reboot of that show does. This surprisingly compelling movie creates a tangible sense of time and place and utilizes innovative shots and blocking to deliver something unique and artful, while still delivering on its genre promises.

What the Constitution Means to Me (available on Amazon Prime)

The final live communal event I attended before everything locked down last spring was the touring production of this Heidi Schreck play, and boy, was it a moving way to say a temporary goodbye to live theatre (even if I didn’t quite know it at the time). Later in the year, Amazon gifted us with a record of Schreck’s Broadway run, which loses nothing of its impact or immediacy. Using her personal history of debate contests at American Legion Halls as an entry point, Schreck explores how the Constitution has been used (and not used) to impact the rights of women (and other marginalized groups) throughout America’s history. Brilliant, heart-breaking and inspiring art.

Wolfwalkers (available on AppleTV+)

The latest wonder from director Tomm Moore (The Secret of Kells, Song of the Sea) completes his trilogy of films inspired by Irish mythology. The topics this time are the Wolfwalkers, an Irish variation of the Werewolf legend, and the clash of urbanization with the natural world. Vividly rendered in gorgeous traditional animation, this is one of the most visually splendid things I saw all year.

Bonus! Honorable Mentions:

Eurovision Song Contest: The Story of Fire Saga (Netflix)

Feels Good Man (VOD)

Palm Springs (hulu)

Sound of Metal (Amazon Prime)

Tenet (VOD, Blu-ray)

#film

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aaronmaurer · 3 years

Text

Music I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I can’t say I discovered a lot of new artists in 2020, but I did find a lot of solace in new records by familiar voices. During days of intense isolation and lonesomeness, music provided support, hope and the occasional semblance of peace. I’m especially grateful for the musicians who found new ways to perform live from their home studios, once the entire touring industry completely shut down. I’m sure we all found our own rabbit holes, but live-streamed sets from the likes of Ben Gibbard, Jimmy Eat World’s Jim Atkins, Better Than Ezra’s Kevin Griffin, Geographer’s Michael Deni and Ben Folds kept me sane during April, May and beyond. As did all of these albums, which I highly recommend.

15. Serpentine Prison – Matt Berninger

The National frontman’s first solo record is a slow-burn that may not reach the heights of his work with his main group (or sideproject El Vy), but still has signature moments of poetic beauty. The title track is a clear standout (and when it gets stuck in your head, you can have fun brainstorming your own alternate non-sequitur couplets; examples: “Tripping on Molly / Salvador Dalí”, “Praying to Jesus / Ramona and Beezus” / “Sell it on Etsy / Heavens to betsy” / “Patio tables / Anne of Green Gables” It’s fun! Try it out!)

14. Local Honey – Brian Fallon

Speaking of Matt Berninger (and solo projects from alt-rock frontmen), I hear a lot of his influence on the latest from Gasoline Anthem’s Brian Fallon. This largely stripped-down affair has quiet splendor to spare and provided a balm in the early days of the pandemic.

13. Gigaton – Pearl Jam

Pearl Jam’s latest record finds the band operating in a variety of different modes – head-on rockers, balladeers, experimentalists – yet doesn’t quite gel into a whole the way their very best work does. That said, it’s an energetic album with many songs I look forward to hearing live, someday…

12. George Clanton & Nick Hexum – George Clanton & Nick Hexum

A vaporwave collaboration between electronic artist George Clanton and 311’s Nick Hexum? Really? Somehow it works, and its chill vibes were a perfect backdrop for lonely summer malaise this year.

11. Petals For Armor – Hayley Williams

Paramore’s Williams branched out on her first solo record this year, allowing her to operate in a variety of styles without losing her powerful voice. Moments of slinkily seething electronica (“Simmer”) share space with pop smarts (“Dead Horse”), quietly pretty harmonies (“Roses/Lotus/Violet/Iris”) and all points in between.

10. Mordechai and Texas Sun EP (with Leon Bridges) – Khruangbin

Houston psych-rock trio Khruangbin did double duty this year, first releasing a collaborative EP with Leon Bridges then following it up with a new full-length a couple months later. Both records hang in the air like hazy, languid summer heat, in the best possible way.

9. RTJ4 – Run the Jewels

RTJ4 is just as rollicking and propulsive as Killer Mike and El-P’s previous collabs, but with a greater sense of socially conscious urgency and righteous anger, giving it an even rawer power. Tracks like “Walking In The Snow,” “JU$T” and “a few words for the firing squad (radiation)” are just the tip of the iceberg on this incendiary record.

8. American Head – The Flaming Lips

American Head returns the Flaming Lips to the melodic soundscapes of The Soft Bulletin and Yoshimi Battles the Pink Robots, which is my preferred mode for the band, and thus is my favorite thing they’ve done in at least a decade. The record is a bit more dreamily melancholic than those earlier releases though, creating atmospheres of contemplative beauty.

7. Punisher – Phoebe Bridgers

Coming after collaborations with boygenius and Better Oblivion Community Center, it’s hard to believe this is only Bridgers’ sophomore album. Punisher takes the winning palette of Stranger In The Alps and mixes in more colors and texture. This is an album that rewards repeat listens; tunes that I had initially dismissed have ended up becoming my favorites as they get their hooks into me. The most immediate tracks like “Kyoto” and “ICU” don’t lose any impact over time, but the likes of the quietly devastating “Chinese Satellite” sneak up on you and gradually reveal their layers.

6. Imploding the Mirage – The Killers

I was done with The Killers. My interest always ran hot and cold anyway, but after 2017’s Wonderful Wonderful, no thanks. So imagine my surprise when I gave Imploding the Mirage a shot and found I LOVE it! It may be my favorite of their records yet, at least the most consistent, where they most fully realize the confluence of their Springsteen-tinged Americana fetish and electro-rock sensibilities. Bombastic 80s arena percussion and over-the-top synth flourishes combine in the best possible way. There’s not a dud on the album for me, but I’m especially fond of “My God,” “Lightning Fields” and “Dying Breed.”

5. The Ascension – Sufjan Stevens

The Ascension hits with similar energy to 2010’s polarizing Age of Adz, but with more easily accessible songs. It’s a dark and introspective record about disillusionment with America and oneself, but also highly danceable – if a bit overlong. Standout tracks like “Goodbye to All That” and “Lamentations” provide transcendent moments of soaring beauty like calm in the storm. And the brilliant title track plays like a self-interrogating rejoinder to Adz’s pep talk “Vesuvius” in which, instead of cheering himself on, Stevens probes and calls into question his motivations and beliefs.

4. Song Machine, Season One: Strange Timez – Gorillaz

The latest record from Damon Albarn’s ever-evolving cartoon collective is its most engaging since Plastic Beach, with a spirit of musical exploration that reminds me much of 2001’s self-titled debut as well. The project was introduced as a series of one-off singles, so what really surprises is just how well they cohere into a full record, featuring a plethora of A-List guest artists and Albarn holding down the fort with some of his best songwriting yet.

3. 10 Songs – Travis

Travis are a band that I’ve casually enjoyed (2001’s The Invisible Band is great) but never followed all that closely. I certainly wasn’t expecting much from a latter-day record from them, but 10 Songs is one of the 2020 releases I have returned to most. The songs are the audial equivalent of a warm blanket, with a lovely wistfulness permeating through. Standouts include “The Only Thing,” “A Million Hearts” and “Kissing in the Wind,” but all ten songs are great.

2. Devastator – Phantom Planet

Phantom Planet’s first record in 12 years doesn’t miss a beat, finding a sonic middle ground between their early indie-pop leanings and their later punkier direction. The hooks are plentiful and the lyrics poignant (this is basically a breakup album about the end of frontman Alex Greenwald’s relationship with Brie Larson), with highlights including the up-tempo “Only One” and the elegiac “Time Moves On.” Return of the year.

1. folklore and evermore – Taylor Swift

Top 40 Pop Music is not really my thing and while I’ve certainly appreciated some of Taylor Swift’s work before (Red has jams!), I wouldn’t have called myself a fan. 2020’s pair of surprise release records are a different mode of songwriting for her and right in my wheelhouse, with indie-leaning production courtesy of fun./Bleachers’ Jack Antonoff and The National’s Aaron Dessner. While my impressions of Swift’s past work have been navel-gazy and self-mythologizing (not a problem, but not that interesting to me), folklore and evermore broaden her storytelling to paradoxically become more specific in its universality and/or more universal in its specificity. The moments that are autobiographical (“mad woman,” “invisible string”) have an authenticity and self-assuredness that make them all the more accessible. This is romantically nostalgic poetry with the power to reopen old wounds and maybe also start rehealing them at the same time. While I still give folklore the edge (I love “august,” “exile” and mirrorball,” to name just a few), evermore is steadily growing on me with each listen.

Here’s a playlist songs from each of these records for your sampling pleasure:

Bonus! 2 Unexpected Cover EPs:

Switchfoot – Covers EP and Death Cab For Cutie – Georgia EP

As society grappled with lockdowns and concerts were uniformly cancelled the world over, many artists kept occupied with livestreams from their home studios. Switchfoot’s Jon Foreman and Death Cab’s Ben Gibbard were among those who posted daily songs or shows during the early days and their bands would each end up releasing EPs of cover songs during the year. Switchfoot take on a range of songs from the likes of Vampire Weekend, Frank Ocean and The Verve and Death Cab honor Georgia artists like R.E.M. and Neutral Milk Hotel for a Bandcamp fundraiser for voting rights. Both efforts provide some unexpected reinterpretations that elevate them above the average covers album.

#music

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aaronmaurer · 4 years

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Music I Liked in 2019

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2019 was a great year for music, at least among the pop-leaning alt and indie rock I enjoy. Several favorite bands came back and knocked their latest efforts out of the park and I gained new appreciation for some artists that I’d never really connected with before. In fact, there was so much good music this year, I stretched my self-imposed Top 15 to get a few more records in. Of the three lists I write up each year, music is easily the most subjective because there’s a lot more of it out there and it’s even more fragmented, so I definitely don’t make any claims that these are the best albums of the year; they’re just my favorites and come highly recommended.

15. Better Oblivion Community Center – Better Oblivion Community Center

Phoebe Bridgers and Conner Oberst teamed up for this surprise release which merges both of their styles. The record is more electric/grungy than Bridgers’ solo output and though I’m not a big Oberst fan, there is still much to like here, especially the lovely ode to musical discovery “Chesapeake.”

14. Native Tongue – Switchfoot

Switchfoot have established a pattern of alternating records I adore (Hello Hurricane, Fading West) with records that do almost nothing for me (Vice Verses, Where The Light Shines Through). Native Tongue swings back to the positive column with a mix of shiny anthems and contemplative balladry. Maybe the next one will break the cycle and stay in the “win” column?

13. New Jersey EP – Geographer / Let’s Try the After EPs – Broken Social Scene

The digital-age trend of artists dropping EPs rather than full-lengths continued in earnest this year with a lot of decent short-form offerings. Geographer’s New Jersey EP is my favorite thing he’s done in years and Broken Social Scene’s two Let’s Try The After releases continue the revitalized kick begun with 2017’s Hug of Thunder.

12. (I Am) Origami Pt. 3 – A Catacomb Hymn – John Van Deusen

Former Lonely Forest frontman Van Deusen released the third in a series of solo records last year, this one reconciling the alt-rock angst of Pt. 1 and the spiritual introspection of Pt. 2. There’s a lot to dig into here, but I’m especially fond of “Fly Away to Hell,” an appeal to finding hope through the natural world’s beauty in the midst of despair.

11. Without Fear – Dermot Kennedy

Kennedy’s first full-length record comes on the heels of a series of EPs and includes several tracks cherry-picked from those yet still coheres as a whole. Mixing singer-songwriter guitar folk with modern pop production (including vocal distortion effects and massive percussion) yields a sound that is simultaneously raw and polished – and immediate. Highlights include “All My Friends,” “Moments Passed,” “Lost” and “Dancing Under Red Skies.”

10. Everyday Life – Coldplay / Hyperspace – Beck

The latest albums from these two alt-rock luminaries were released on the same day and both have a lot to recommend them, even if they don’t quite reach the heights of the artists’ best work. Everyday Life is an interesting grab bag of ideas that doesn’t quite gel, but it is far better than anything on the prior A Head Full of Dreams. Tracks like the quietly pretty “Èkó,” the Owl John-interpolating “Champion of the World” and the Afrobeat breakdown “Arabesque” are peak Coldplay. Hyperspace is Beck doing vaporwave, a mostly chill dive into existentialism that finds a medium between the neon pop of Colors and the mellow beauty of Morning Phase.

9. Rattlesnake – The Strumbellas

While even Mumford & Sons have tired of the banjo-rock trend they re-popularized, there are still some terrific folk-leaning bands keeping the tradition alive. The most recent record from the Strumbellas is a collection of upbeat anthems that celebrate life and hope with an honest tinge of existentialism. This is perfectly encapsulated on closer “All My Life,” an ode to the paradoxical nature of love (whether divine or romantic) as both heart-breaking and life-giving force.

8. I Am Easy to Find – The National

I Am Easy to Find is the National at their more gorgeously languid. With the inclusion of a chorus of female vocalists (one of three in a trend on this list), the music here expands in new directions. As a sister piece to a short film by artist/designer Mike Mills (Beginners), this record has the feel of a curated museum piece – in the best possible way. “Not in Kansas” references my favorite R.E.M. album, “Where Is Her Head” is all propulsive stream-of-consciousness, and the closing sequence from “Hairpin Turns” through “Light Years” is as strong as anything else in the band’s catalog. (If you like this record, I strongly recommend “Think You Can Wait,” their earlier collaboration with Sharon Van Etten for the soundtrack to Win Win.)

7. Surviving – Jimmy Eat World

2016’s Integrity Blues marked a return to form for Jimmy Eat World after a couple uneven efforts and Surviving sets the bar even higher. Zach Lind’s percussion comes through as clearly and strongly as the robust guitar riffs, making this one of the best rock records of the year. The album’s middle stretch – from the synthy staccato of “555” to the quiet-loud dynamism of “One Mil” to the Futures-esque “All The Way (Stay)” to the soaring immediacy of “Diamond” – may be my favorite 4-song sequence of any album this year.

6. In the Morse Code of Break Lights – The New Pornographers

Another dose of shimmering power-pop from the Canadian collective, In the Morse Code of Break Lights finds A.C. Newman at his most lyrically direct, confronting the current political landscape with comparisons to fallen empires of antiquity on the likes of “Colossus of Rhodes” & “One Kind of Solomon.” Standouts include those tracks as well as the rhythmic pulse of “Falling Down the Stairs of Your Smile” & “Opening Ceremony” and Simi Stone’s dynamic violin flourishes on “Dreamlike And On The Rush” & “Leather On The Seat.

5. Norman Fucking Rockwell! – Lana Del Rey

I’ve been on the fence about Lana Del Rey to this point, appreciating some of the singles I’ve heard but never fully engaging with her brand of arch romanticism. Whether her casually profane and resigned lyrics are authentically her or an ironic persona, NFR! is undeniable, reflecting the fatalism of young adulthood in Trump’s America with excellent songcraft. Jack Antonoff’s production floats her dreamy vocals over spare but lush instrumentation, creating a hazy atmosphere of malaise with maybe some glimmers of hope flickering through.

4. My Finest Work Yet – Andrew Bird

Another reflection of the times from an artist I’ve never quite connected with before, Bird’s wryly titled My Finest Work Yet focuses his droll wit on deconstructing American exceptionalism and imperialism. The wordplay throughout this record is ingenious, but it’s the compositions that really sell everything, with hooks a-plenty and warm jazz orchestration to counterbalance the heavy subject matter. And yes, there is some whistling.

3. NINE – blink-182 / Strange Love EP – Simple Creatures

If 2016’s California was preoccupied with recapturing the bratty pop-punk rush of Enema of the State, then NINE is blink-182’s return to the more experimental emo leanings of their self-titled 2003 release. While not quite as adventurous as that record, it’s definitely their best work since, featuring introspective lyrics, plenty of Whoa-Oh-Oh sing-a-longs and full integration of newest member Matt Skiba (who is deployed as much more than a Tom DeLonge surrogate this time out). Personal favorites include “Heaven,” “I Really Wish I Hated You,” “No Heart To Speak Of” and “Hungover You,” but this is a solid front-to-back listen.

2019 also saw Mark Hoppus team up with All Time Low’s Alex Gaskarth for two EPs under the moniker Simple Creatures. Strange Love is the stronger of the two and leans into synthpop territory with bright choruses, providing a nice complement to NINE.

2. Father of the Bride – Vampire Weekend

Aside from the stellar “Harmony Hall,” the pre-release singles from Vampire Weekend’s latest didn’t really wow me and I worried that this record (the first without Rostam Batmanglij as a full member) would end their unimpeachable run. However, in the context of the album, everything works brilliantly, a clear case of the whole being greater than the sum of its parts. Ezra Koenig is at both his most experimental (see “Sympathy” and “Flower Moon”) and most traditional (see “Unbearably White” and “We Belong Together”) here, to great effect. Danielle Haim contributes vocals to several songs (two of three of the trend), tying everything together and adding a new dimension to the sound, which is still recognizably VW while expanding in new directions.

1. American Football (LP3) – American Football

Though I missed American Football’s initial late-90s run, I was glad to catch up with the band upon the release of their 2016 reunion album. Their music lives somewhere at the nexus of emo, post-rock, shoegaze and jazz, with instrumental motifs that call to mind Jimmy Eat World’s Clarity opus “Goodbye Sky Harbor.” 2019 brought a third LP (fortunately without a 17-year wait) that I believe is their best yet. Featuring female vocalists on several tracks (three of three of the trend), this set of songs has more immediate hooks without sacrificing lush guitar cascades or meditative polyrhythms. A perfect record to get lost in on a quiet morning drive – or any other time, really.

You know what’s better than reading about music? Listening to it. Here’s a sampling of songs from each of these records if you want an easily-digestible mix:

Bonus! Reinterpretation Albums:

Reworked – Snow Patrol – For Snow Patrol’s 25th year, they put out this album of new recordings of some of their greatest hits (and a few new songs for good measure). These reinterpretations aren’t drastically different from the originals, but they share a consistent coffeehouse vibe that makes for nice Sunday morning listening and a fresh approach to a typical “Best Of” record (which, to be fair, they have done before).

Tiny Changes: A Celebration of Frightened Rabbit’s ‘The Midnight Organ Fight’ – Various Artists – One of the final projects Scott Hutchison was involved with before his death, Tiny Changes bucks the trend of reissuing a landmark album on its anniversary. Instead, to commemorate 10 years of their breakthrough release, Frightened Rabbit tapped some of their favorite artists and friends (including the likes of Ben Gibbard, Manchester Orchestra and Julien Baker) to record cover versions of the whole thing. While nothing can touch the raw emotion of the originals, these interpretations reveal new dimensions to many of the songs, especially Daughter’s hauntingly beautiful and gut-wrenching take on “Poke.”

#music

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aaronmaurer · 4 years

Text

TV I Liked In 2019

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

The era of “peak TV” has never been more apparent to me than the past year. I am very aware of the many shows I have not seen (don’t have Amazon Prime, for example), and yet I expanded my list from a top 10 to top 15 and still had to leave out A LOT of stuff I really liked! These picks include my legitimate favorites, ranging from truly important looks at the criminal justice system to ensemble comedies that I couldn’t wait to return to. In another year I may have been able to include the latest seasons of Barry, Stranger Things, Queer Eye, Bojack Horseman, Glow, or the finale seasons of Legion, A Series of Unfortunate Events, Veep, Silicon Valley and The Deuce, all of which I’d still recommend. But these stood out even more.

14 (tie). Chernobyl (HBO) / The Hot Zone (National Geographic)

Two limited series focusing on real-life disasters in the 1980s: the meltdown of the Chernobyl nuclear power plant and an Ebola outbreak outside of Washington DC. Chernobyl is an incredibly harrowing account of humanity’s inability to believe things that don’t mesh with their interpretations of reality and the destructive power of lies and cover-ups. The Hot Zone adapts the non-fiction Richard Preston book, a revealing look at pandemics, the power of fear and human resolve. Taken together, they raise interesting questions about governmental gatekeeping, professional competence and personal sacrifice.

13. Mindhunter: Season 2 (Netflix)

Joe Penhall and David Fincher’s look at the early days of the FBI’s criminal profiling department goes broader and deeper in its second season. There are still chilling interviews with incarcerated serial killers and criminal minds (including Charles Manson this time out), but the season really revolves around the Atlanta child murders. This focus provides a compelling look at who the justice system helps and who it ignores, and the investigative – and bureaucratic – work it takes to put together a case.

10 (tie). A.P. Bio: Season 2 (NBC) / The Last O.G.: Season 2 (TBS) / Schitt’s Creek: Season 5 (Pop)

Three great hangout comedies that really came into their own in their most recent seasons. A.P. Bio transcended its first-season preoccupation with revenge and leaned into its fantastic supporting cast – one of the best comedic ensembles around – to become a show I loved spending time with each week. (Thank goodness it’s coming back via NBC’s upcoming “Peacock” service.) The Last O.G. has had a lot on its mind since it began, but its second season covers privilege and the opportunity gap among other issues, ending with a note-perfect homage to Spike Lee’s Do The Right Thing, making it an unexpectedly resonant comedy. Schitt’s Creek is obviously having a moment right now, and Season 5 (the first season I watched as it aired) was perhaps its best yet. While the whole cast is great, as a big fan of Best In Show and A Mighty Wind, I love seeing Eugene Levy and Catherine O’Hara share the screen again.

9. Crashing: Season 3 (HBO)

The first two seasons of Pete Holmes’ show made my list in previous years so I’d be remiss not to include the final one, which may be its finest. Pete spends the season making a lot of mistakes – saying yes to things (gigs, relationships) that he probably shouldn’t – and although they provide growth, he doesn’t come across as the “good guy” in how he deals with all of them. This adds additional nuance to the show, questioning its straight white male protagonist’s actions rather than merely rewarding him for following his passions, while still leading to an uplifting and fitting finale.

8. Unbreakable Kimmy Schmidt: Season 4 (Netflix)

Netflix split the final season of Kimmy Schmidt into two parts, so technically only the final six episodes premiered in 2019. Those alone warrant a spot on the list, as the show concluded by following its idiosyncratic bliss to the end. The final group of episodes includes a (pre-movie) takedown of Cats, a Sliding Doors homage and an unexpectedly moving series finale. If this one fell off your radar a few years ago, it’s worth revisiting and seeing through.

7. What We Do In The Shadows: Season 1 (FX)

Based on the horror-comedy film of the same name, this series follows a different crew of vampires who live together on Staten Island. I was initially skeptical because I love the movie and couldn’t see how a television version could do anything but dilute its charms. On the contrary, the show broadens the universe in hilarious ways by introducing characters like “energy vampire” Colin Robinson and the incredible Vampiric Council (with so many incredible cameos!). The core actors are all wonderful, but the MVP has to be Matt Berry’s louche and libidinous Laszlo whose line readings are simply hysterical.

6. Les Misérables (BBC/PBS)

Although it aired in the UK in 2018, the BBC/PBS production of Victor Hugo’s epic didn’t grace American screens until early 2019 so I’m including it here. I am a big fan of the musical adaptation and find it quite successful at cramming so much story into a three-hour runtime, though it obviously has limits to how much of the source material it can explore. This (non-musical) adaptation’s six episodes allow for more of Hugo’s tale of forgiveness versus retribution to live and breathe. The terrific cast includes Dominic West as Jean Valjean and David Oyelowo as Inspector Javert, as well as Lily Collins as Fantine whose backstory is more fully realized here than the format of the stage show allows.

5. Our Planet (Netflix)

Essentially a sequel to the Planet Earth documentaries, with the same production team and David Attenborough narration, this Netflix series presents another stunning collection of nature footage that showcases the incredible diversity and beauty of animal life on Earth. Each episode includes a haunting reminder of man’s impact on the featured habitats and serves as a rallying cry in the fight against climate change.

4. The Good Place: Seasons 3-4 (NBC)

The Good Place has been high on my list since its first season and shows no signs of dropping in quality or esteem as it enters its final stretch of episodes. 2019 encompassed the end of Season 3 (including the hilariously imaginative visit to the Interdimensional Hole of Pancakes) and the beginning of Season 4 (with its crew of new characters and just as many reversals and rug-pulls as you’d expect). The final episode before its winter break was “The Answer,” a touching spotlight on William Matthew Harper’s Chidi, which might have been enough to make this list all on its own. (And given the surprise cameo/quasi-crossover in its first episode of 2020, I wouldn’t be surprised if it shows up here again next year too.)

3. Unbelievable (Netflix)

The true story of a serial rape case adapted from journalism by ProPublica, The Marshall Project and This American Life, Unbelievable is one of the most simultaneously heartbreaking and satisfying procedurals I have ever seen. As crushing as it is to watch the initial investigation completely mishandled and devolve to gaslighting, it is powerful and inspiring to watch compassionate public servants and actual good detective work be carried out as the series progresses. Kaitlyn Dever, Merritt Wever and Toni Collette are uniformly excellent here (as they also were in their respective film roles in Booksmart, Marriage Story and Knives Out this year).

2. Watchmen (HBO)

Showrunner Damon Lindelof (LOST, The Leftovers) takes some incredibly bold swings in his limited-run sequel to the groundbreaking 80s graphic novel that deconstructed the ideas of vigilantism and superheroics. Picking up in the same alternate reality as that story but in present day, the main action is shifted to Tulsa, Oklahoma, and the central theme is race relations. It could have gone way off the rails in a million different ways, but I found it to be incredibly successful. Each episode is a captivating work of art and it somehow seems to top itself with each subsequent installment. While I appreciate the book, I don’t love it; this series takes that source material seriously and, to me, completely transcends it.

1. When They See Us (Netflix)

As compelling as it is devastating, this miniseries from Ava DuVernay (who directed and co-wrote all 4 parts) dramatizes the lives of the wrongly convicted children the media dubbed “the Central Park Five.” Even with some familiarity of the story from watching Ken Burns’ documentary years ago, I was utterly gutted by the depiction of the injustices and systemic racism that stole these childhoods. Everyone in the cast shines, but Jharrel Jerome’s portrayal of Korey Wise (the only one of the group played by the same actor as a child and adult – and so convincingly) is truly phenomenal. Not a comfortable watch but an essential one.

Bonus! Musical Comedy Specials:

The Unauthorized Bash Bros. Experience (Netflix) – This “visual poem” from the Lonely Island presents “an album of raps” recorded by Jose Canseco (Andy Samberg) and Mark McGwire (Akiva Schaffer) at their steroid-fueled 80s peak with the Oakland A’s. Your likely enjoyment is probably about equal to your reaction to that description. The songs are great, catchy and hysterical on their own, but the videos take it to another level, parodying everything from 80s infomercials to Enya to Beyonce’s Lemonade. There is no 30 minutes of TV I rewatched more in 2019.

John Mulaney and the Sack Lunch Bunch (Netflix) – Debuting on Christmas Eve, this children’s television homage/parody snuck in just under the wire. The words of the day could be fear and mortality, as the group of kids Mulaney interacts with reveal their personal phobias and several skits revolve around existential angst. By the end of the first musical number I was sold, by the time David Byrne showed up I was committed, and by “Mr. Music’s” madcap finale I wished it could last forever.

#tv #television

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aaronmaurer · 4 years

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Movies I Liked in 2019

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Despite everything else going on in the world, 2019 was a pretty good year for movies! I saw a lot of things I really enjoyed (thanks AMC A-List!) and managed to avoid all of the live action Disney remakes. While it was hard to whittle down my list to a self-imposed/arbitrary 10, these stood out as efforts I can see myself returning to again and again.

10. The Public

This low-key release from writer/director/star Emilio Estevez is a deeply humanist look at systemic failures to address homelessness in American cities. During a bitterly cold winter in Cincinnati, a group of people decide to occupy a public library overnight rather than be forced onto the life-threatening streets, and media, law enforcement and politicians all attempt to shape the narrative. With a supporting cast including Michael K Williams, Jena Malone, Jeffrey Wright and Alec Baldwin, this one is worth seeking out (and has some great shots of Cincy as well).

9. Toy Story 4

Did Toy Story need a fourth entry? I wouldn’t have thought so, but leave it to the magicians at Pixar to find new ways to animate (eh? eh?) these beloved characters – and introduce some great new ones. With the additions of Tony Hale’s Forky, Keanu Reeves’ Duke Caboom and Key & Peele’s Bunny & Ducky, this is easily the funniest Toy Story to date. However, it still packs an emotional wallop as well: if you can get through Gabby Gabby’s final scene with dry eyes you may not have a heart.

8. The LEGO Movie 2: The Second Part

While not nearly as successful at the box office as its predecessor, the LEGO Movie sequel is just as funny, engaging and surprisingly moving. While the real-world metanarrative is no longer a surprise, the shift from parent-child relationship to that of siblings provides ample storytelling fodder that I related to even more than the original. And for the record, this was the first major movie released this year to feature a 5-year time jump – and time travel shenanigans (looking at you, Endgame).

7. The Boy Who Harnessed The Wind

Chiwetel Ejiofor adapted this true story of a boy in Malawi who devises a way to save his village from severe famine (his writing and directorial debut). The film doesn’t shy away from the harsh realities of life in under-resourced areas but also embodies hope and ingenuity that know no socioeconomic or geographic bounds.

6. A Beautiful Day In The Neighborhood

I’ll admit I was skeptical upon hearing Tom Hanks would be playing Mr. Rogers – he’s a great actor but doesn’t bear much of a resemblance in appearance or demeanor. However, his success in the part comes from not trying to technically imitate Rogers as much as embody his spirit of decency, sincerity and kindness. The fact that this is not a Rogers biopic, but rather a story of his impact on the life of a journalist who is wrestling with cynicism, anger and unforgiveness, also helps matters (what a year for movies based on longform journalism! See also: Richard Jewell, Dark Waters). The writers and director Marielle Heller take some interesting chances including a cheeky framing device and transitions using Mister Rogers’ Neighborhood-inspired miniatures that help make this film something {ahem} special.

5. The Current War: Director’s Cut

(Note: This film was originally set for release in 2017 and an unfinished version screened at film festivals that year to critical disdain. The Weinstein scandal mired it in development hell, but it got a second life in a new, finished version this fall as the “Director’s Cut.”)

This story of the “war of the currents,” as Thomas Edison and George Westinghouse raced to electrify America at the turn of the 20th century, snuck into theaters under-the-radar at the end of the summer but I am so glad I had the chance to see it on the big screen. Far from a conventional biopic or historical epic, there is a beautiful lyricism on display here with sweeping camera movements, innovative shot compositions, gorgeous use of light and color and a enveloping musical score. For a film that tracks multiple characters and locations for over a decade, there are moments of touching poignancy and intimacy that prevent it from becoming impersonal. I found it utterly compelling and transporting, though your mileage may vary.

4. Avengers: Endgame

It’s a rare Hollywood blockbuster that allows its characters time to grieve and process trauma, and even acknowledges the futility and emptiness of revenge. Endgame manages all that before launching into a time travel adventure and an ultimate showdown that pays off the 21 Marvel films that came before over the past 11 years. I’m sure it doesn’t make sense at all as a standalone, but for fans of these movies it was a satisfying conclusion to this era of the MCU, filled with humor and heart.

3. Little Women

I have no connection to the source material at all, having never read Louisa May Alcott’s book or seen any other screen adaptation, so I cannot compare it to anything that’s come before. I can say Greta Gerwig’s follow-up to Lady Bird is simply fantastic, with an engaging cast and beautiful cinematography that radiates warmth. I’ve read that the novel’s chronology is linear and this movie rearranges it with flashbacks, creating juxtapositions that reveal a great deal about characters, choices and the passage of time. It all leads to a somewhat meta finale that serves as a salute to the creative voice.

2. Ad Astra

As with the likes of Gravity and First Man in recent years, James Gray’s Ad Astra recognizes that traveling to our inner spaces is as transformative as venturing to the stars. Set in a near future where the moon is a rundown spaceport and Mars has been colonized, Brad Pitt plays an astronaut tasked with finding out what happened to his father’s missing mission to Neptune decades earlier. Atop a fascinating backdrop of space futurism, the film is a meditation on the loneliness and isolation of space and the meaningfulness of community and connection.

1. Knives Out

This relentlessly entertaining murder mystery from Rian Johnson (The Brothers Bloom, The Last Jedi) not only satisfies from a plot and character perspective, but delivers a level of social commentary and critique of white privilege akin to Get Out without feeling didactic about it. The cast is terrific all-around, but Daniel Craig’s starring turn as thickly drawling Detective Benoit Blanc is note-perfect, especially as he chews his way through Johnson’s hilariously meaty dialogue.

Bonus! Honorable Mentions:

Apollo 11 – Comprised of newly discovered and restored NASA footage of the first moon landing, this fresh and immediate documentary brings history to vivid life without leaning on talking heads or narration. (View alongside last year’s Neil Armstrong biopic First Man for an even richer experience.)

Spider-Man: Far From Home and Captain Marvel – two more solid additions to the MCU that are honestly probably in my Top 10, but it seemed excessive to give 3 slots to Marvel and Endgame was the clear standout. That said, Gyllenhall’s performance as Mysterio was all types of fun (see also: his gleefully unhinged turn as “Mr. Music” in Netflix’s John Mulaney & The Sack Lunch Bunch special) in the former and directors Bowden and Fleck bring warmth and humanity to a great buddy comedy in the latter.

A Hidden Life – Terrance Mallick’s best work since Tree Of Life tells the true story of a rural Austrian farmer who refuses to swear a loyalty oath to Hitler and is arrested for treason. The three-hour run time could have probably been trimmed but its thought-provoking meditations on resistance and conscience get under your skin.

Klaus – A Netflix original that presents an origin story for the legend of Santa Claus sounded a bit rote to me, but its story contains surprising emotional weight (that honestly brought me to tears a few times) and it’s gorgeously animated in a style that finds a groundbreaking medium between 2D and 3D.

#film

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aaronmaurer · 5 years

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Movies I Liked in 2018

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I may have seen more movies in theatres in 2018 than any other year of my life, thanks to MoviePass during its unsustainable height and now AMC’s A-List. Even so, aside from some genuinely classic new blockbusters, this year’s indie and prestige fare didn’t make as much of an impact on me as 2017’s offerings.

I typically rank 10 films, but this year, due to an abundance of parallels and no clear favorite, I decided to share my recommendations in pairs that might make some interesting Double Features.

Fresh Takes On History

The Favourite

A riveting and ribald take on the costume drama that brings English history to vibrant (and at times, anachronistic) life, The Favourite excels not just through its script and performances, but also through its unique cinematography, using wide lenses to capture entire rooms. The cast is all terrific, led by Emma Stone in arch mode, Rachel Weisz playing manipulative and commanding, and Olivia Coleman as a daffy and indecisive Queen Anne. It’s compelling stuff and far from the genre’s typically stuffy Oscar bait.

First Man

In the tradition of The Right Stuff’s auteur-driven impressionistic history of NASA’s beginnings, Damien Chazelle’s Neil Armstrong biopic eschews easy crowd-pleasing in favor of scenes that put the audience right inside the claustrophobic and frankly, terrifying, cockpits of the experimental airplanes and mission spacecraft that astronauts piloted. Armstrong was known as humble and reserved and Ryan Gosling does a great job of humanizing him with nuanced depth. Claire Foy is his captivating equal as wife Janet, left dealing with the homefront while her husband ventures into uncharted territory. As a sucker for movies about the space program (and a fan of Chazelle’s prior films), this was right up my alley, but I was unprepared for the sheer artistry and realism of the entire endeavor, including its hauntingly beautiful score and POV cinematography.

Gorgeous Cinematography and Radical Empathy

If Beale Street Could Talk

Barry Jenkins’ adaption of James Baldwin’s novel is a feast for the eyes – stunning cinematography, costuming and production design combine to create one of the most vivid films of the year, justly earning its Wong Kar-wai comparisons. The plot bounces back and forth in time, revealing a love story of boundless promise that is interrupted by systemic injustice and institutional racism. Moments of beauty and hope are contrasted with the dehumanizing reality of a criminal justice system that seems to exist merely to beat those out of people. A harsh reminder of how little has changed since the book was written decades ago.

Roma

Alfonso Cuarón is a master filmmaker and his meditation on his own childhood in 1970s Mexico City is spellbinding. Shot in stunning black-and-white, the compositions and tracking shots employed present a uniquely realized sense of place. Although the film is available on Netflix, I had the opportunity to see it screened in 70mm film and highly recommend viewing on the largest screen possible to fully appreciate the beauty of its filmmaking. Of course, the visuals would be meaningless without a story to serve, and Roma showcases the daily life and sacrifices of an indigenous housekeeper to an upper-middle-class family, fully immersing the audience in her world in all its small pleasures and large heartbreaks. An indelible tribute to the incredible strength and selflessness of women and caretakers everywhere.

Marvel Superhero Domination

Black Panther

The Marvel Cinematic Universe continued to expand this year with Black Panther’s title film following the character’s debut in Captain America: Civil War. Look: you probably saw this movie. What is there to say? It’s very very good. The Afrofuturist art direction and costume design is absolutely fantastic. The CGI is kind of weak (my guess is most of Marvel’s resources were devoted to the next film on this list). It works as a stand-alone feature but still effectively ties into the greater MCU, and it serves as a glorious tribute to black excellence. ’Nuff said.

Avengers: Infinity War

The payoff of a decade of interlocking films featuring dozens of characters could have been absolutely terrible. There are probably plenty of people who think Infinity War fits that description, but I am deeply impressed at how deftly the filmmakers handled everything, balancing a lot of plot with winning character moments. The fact that this movie is essentially a hero’s journey from the perspective of the villain is a clever upending of expectations and the ending (for now) is a pretty audacious move on Marvel’s part.

The Hollywood Machine at Its Best

A Star Is Born

The most compelling aspect of the latest rendition of A Star Is Born is the way director/star Bradley Cooper puts the audience in the middle of the action, allowing us to share the stage at giant music festivals, the Grammy Awards and Saturday Night Live, among other venues. It’s the most authentic concert film I’ve seen (probably helps that Live Nation co-produced it). The soundtrack is solid and Cooper and Lady Gaga are excellent in their roles, though I often felt at a remove from them, like watching a series of excellently curated vignettes without fully experiencing their inner worlds. So while I like this film a great deal (and it’s an example of what big studios can do best), it lacks the immediacy and intimacy of 2007’s much sparer indie Once, still my benchmark for “two-artists-making-a-connection-and-bringing-out-the-creative-best-in-each-other” stories (see also: La-La-Land).

Mission: Impossible – Fallout

There’s a mournfulness to the latest M:I (my favorite action franchise) that pervades the moments between breathless tension and pumping adrenaline. Though character development has never been central to this series, there’s a greater sense here of what Tom Cruise’s Ethan Hunt has given up and the character’s inner goodness. Not wanting to sacrifice even the one innocent person for the sake of millions and willing to expend himself over and over, he is a classic Christ figure, kenosis personified. He may be a cipher, but we see the pain and weariness behind his eyes. Fallout is all the more powerful for it. Oh, and the helicopter chase (in IMAX!): that was badass.

Quirky Tales With Depth

The Ballad of Buster Scruggs

As a collection of standalone Western-themed shorts (originally conceived as an anthology TV show), The Ballad of Buster Scruggs initially feels like a lesser Coen Brothers effort but proves to have a lot of staying power. Suffused with the standard Coen wit and moralistic existentialism, the chapters range from comedy to tragedy and all points in between with no shortage of idiosyncratic characters. The penultimate tale, “The Gal Who Got Rattled,” is one of the strongest and most moving, with an ending that reveals itself to be more complex the more you reflect on it. While the vistas look great on the big screen, this is another Netflix production, so it’s easily accessible and revisitable from home.

The Old Man & the Gun

In the Old Man & the Gun director David Lowry pays homage to 70s-era caper films, putting Robert Redford’s infinite charisma to use in the role of a serial bank robber and prison escapee who could be a latter-day version of his character from The Sting. Based on the true story of Forrest Tucker, the film explores the tension of its protagonist’s draw toward heists and desire to settle down once and for all. The terrific supporting cast includes Sissy Spacek as Tucker’s love interest and Casey Affleck as the detective who puts the case together and becomes engaged in a cat-and-mouse game with him throughout the film.

Like Those? Here Are Some More Worth Your Time:

Innovative Animation - Isle of Dogs / Spider-Man: Into the Spider-verse

Family-Friendly Tributes to Decency - Won’t You Be My Neighbor? / Paddington 2

Environmentally-Conscious Indie Dramas - First Reformed / Leave No Trace

Explorations of Police Brutality Featuring Members of the Original Broadway Cast of Hamilton - Monsters and Men / Blindspotting

#film

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aaronmaurer · 5 years

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Music I Liked in 2018

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Are alternative and indie rock viable formats anymore? What do those labels mean in the year 2018? (What did they ever mean, really?) My favorite sonic moments of the year appear to be more out of step with the general populace and critical circles than ever before, and yet, I still go to a lot of concerts and seeing many of these acts live this year in sold-out venues proves that there is still an audience out there for guitar-based music. If that’s your thing (and no worries if it isn’t), give some of these records a shot.

15. Ruins / Tender Offerings EP – First Aid Kit

Sweden’s harmonic folk sister act returned at the beginning of the year with the accomplished Ruins. It may not have hit the heights of their career-best Stay Gold, but it still provides moments of sweeping beauty. However, it’s the 4-song collection of outtakes from the same sessions that cements this album cycle on my list: Tender Offerings is even more immediate and quietly affecting than its parent record.

14. Arthur Buck – Arthur Buck

Personal favorite singer/songwriter Joseph Arthur teamed up with former R.E.M. guitarist Peter Buck this year for a collaboration that hews more towards Arthur’s influence than Buck’s. That’s not a bad thing and this is a recent highlight of Arthur’s prodigious output. If the collaboration continues to foster such energy and inspiration, I hope it extends well into the future.

13. Malibu Nights – LANY

I’m not quite sure how to classify LANY; in my analysis they have as much in common with emo as pop music, and their synth-heavy sound doesn’t readily slot into rock formats. Regardless, I find their music easily approachable and their lyrics to cut with a similar sincerity as the likes of Jimmy Eat World. Malibu Nights is concise and consistent, two things that cannot be said of 2017’s self-titled full-length, and it is all the stronger for it.

12. Black Panther the Album – Various Artists

Black Panther the Movie was one of the highlights of the year (see my film picks coming soon) and its companion soundtrack follows suit. A mixtape curated by and featuring Kendrick Lamar, this album of original material manages to form a cohesive unit as opposed to a collection of random tracks (i.e. last decade’s Spider-Man 3 soundtrack – which I actually liked, on the whole…). Wakanda forever!

11. Love Is Dead – CHVRCHES

The third LP from Scotland’s CHVRCHES was viewed as a letdown by much of the critical community, and as someone who ranked 2015’s Every Open Eye as that year’s favorite album, I would have to agree – to a point. Love Is Dead still has plenty of fantastic arena and festival-ready anthems to its credit and I don’t blame the trio for leaning into their pop side for this one. The album is incredibly front-loaded with “Graffiti,” “Get Out” and the Matt Berninger collab “My Enemy” coming in the first third, but there are strong moments all the way through and it’s definitely one of the most enjoyable listens of the year.

10. Wildness – Snow Patrol

After a 7-year hiatus, Snow Patrol returned with Wildness and I have to admit I was initially disappointed. However, I have found that with repeated listens this record has really grown on me. The emotional transparency of Gary Lightbody’s songwriting remains intact and you can feel his authenticity on songs like “Life On Earth,” “Heal Me” and “A Youth Written In Fire.” Definitely worth spending some time with.

9. [untitled] EP / [Untitled] – mewithoutYou

Philadelphia’s post-rock luminaries made a surprise return this year with some of their best work to date. An EP arrived in August and rather than a preview of October’s full-length release (only a single song is repeated, in a different version), it functions as a compelling work in its own right and finds the band embracing their more meditative and melodic tendencies. By contrast, the LP leans a bit more into the band’s harder edge – but not completely eschewing quieter moments – without sacrificing any of the lyrical depth or deft musicianship they are known for. It feels like a creative renaissance for a group soon to enter their third decade.

8. boygenius EP – boygenius

The only negative to this stellar collaboration between singer/songwriters Julien Baker, Phoebe Bridgers and Lucy Dacus is that it’s only six songs long. The artists are each given space to shine and when the harmonies kick in, it’s transcendent. Here’s hoping it’s not the last we hear from them as a trio.

7. Be More Kind – Frank Turner

A blazingly earnest call-to-arms for hope in the face of the current political and social landscape, Be More Kind is filled with rousing sing-alongs about decency and making a difference. “Don’t Worry,” “Little Changes,” “Brave Face” and the title track are among the most positive and affirming songs I’ve heard in recent memory, but it’s the rousing and reclaiming anthem “Make American Great Again” that marks my favorite moment on this near-perfect record.

6. Come Tomorrow – Dave Matthews Band

Old habits die hard, and even though my enthusiasm has waned since my obsessive high school & college days, I’ll still go to bat for much of Dave Matthews Band’s music. Their first studio album in 6 years is somewhat a catch-all of songs they’ve been playing live for a while but hadn’t recorded, and as such, is a bit overlong and slightly disjointed. Even so, there is a melancholic wistfulness that pervades many of the record’s highlights including “Samurai Cop (Oh Joy Begin),” “Virginia In the Rain” and “Come On Come On,” which rate with their best work.

5. Upside Down Flowers – Andrew McMahon in the Wilderness

Andrew McMahon’s latest effort is a very nostalgic look back at not just his early career in Something Corporate (“Teenage Rockstars”) but to his childhood as well (“Ohio,” “House In The Trees”). What could come across as navel-gazing or self-mythologizing instead becomes universal in its specificity and his most impactful work in years.

4. Art of Doubt – Metric

Every few years, Emily Haines and Co. grace us with an album of self-empowerment anthems, some of which make more of a personal impact than others. This year’s Art of Doubt was initially a sleeper that I find I keep returning to, discovering new layers of resonance each time. It now ranks alongside Fantasies and Synthetica in the band’s discography to me.

3. Mirror Master – Young the Giant

On their fourth record, Young the Giant deliver some of their most diverse and hooky tunes yet, including the Eastern-tinged “Superposition,” the introspectively moody “Glory” and the soaring anthem “Simplify.” While I’ve counted myself a fan of their previous work, this one coheres in a new way for me that is immensely rewarding.

2. Vide Noir – Lord Huron

Lord Huron have yet to make a misstep and their third full-length proves their most sonically wide-ranging yet. From the driving energy of “Ancient Names, Pt. I,” to the old-timey crooning of “Wait by the River” to the blown-out guitar of “The Balancer’s Eye,” a range of styles are employed. Even with these varied modes, everything hangs together to create an atmospheric quest into darkness for meaning beyond this plane.

1. Layers of Us – Mimicking Birds

There is a spacious ambience to the latest from Portland’s Mimicking Birds, on which acoustic guitars are traded for splashes of mood-setting synthesizers and lyrics pondering humanity’s place in the cosmos and impact on the planet. Despite the dread and existentialism that permeates some tracks, I find a lot of beauty and hope shimmering through the record. It is by far the album I listened to the most in 2018 and perfect for the winter months (during the Winter Olympics I found myself daydreaming alternate realities where the gorgeous and haunting “Belongings” could soundtrack a gold medal figure skating performance).

Here’s a sampling of songs from each of these records if you want an easily-digestible mix:

Bonus! An additional mix of other singles, b-sides, covers and more from 2018 that I really like:

Double Bonus! 7 Best Live Performances I Saw in 2018:

7. U2 – Experience + Innocence Tour at the United Center, May 22nd

The companion to 2015’s Innocence + Experience Tour shared a stage and some common songs, but for the most part was a unique experience that stood on its own. Still telling a loose story of the band’s history through the lens of their Songs of Innocence and Songs of Experience albums, this arena tour centered around the newer material of the latter, which – being one of my favorite albums of 2017 – I was quite happy with. Closing the show with the same excellent two-song final sequence as that album, and a beautiful visual element that formed a bookend with the I+E Tour, was an inspired and moving choice.

6. Lord Huron – Pandora Presents The Stack at Concord Music Hall, September 20th

I was lucky to see Lord Huron twice this year during the Vide Noir tour cycle, and the second time was even better because A) it was a free event (put on by Pandora) that included free Sam Adams!, B) it was in a small venue and C) they reached all the way back to their first EP to end the night with “We Went Wild.” It took me right back to the night I was introduced to them at an intimate Lollapalooza pre-show at the Double Door in 2011, where this then-unknown band captivated me with their atmospheric percussion and guitar rhythms. They’ve yet to let go.

5. The National – Lollapalooza Aftershow at Metro, August 2nd

The National are at a point in their career where they headline festivals and play large theatres, so it’s rare to see them at a 1000-capacity venue like Chicago’s Metro anymore. Fortunately, the concert hall often hosts huge bands on Lollapalooza weekend for late night “aftershows” (which are always nearly impossible to get into) and I somehow scored tickets to the National’s performance there the night before they headlined the fest. It was great to see the band tear through a setlist spanning their whole career that was significantly different from what they did the following evening. The finale of an acoustic “Vanderlyle Crybaby Geeks” – at around 2am – was a beautiful communal moment.

4. Beck – Riot Fest, September 15th

I’ve seen Beck a few times over the years and I think his current setlist might be his best ever, a great mix of all his musical permutations (though missing any songs from Mutations…). Latest record Colors was one of my favorites of 2017 and that material was fantastic live alongside classics like “New Pollution,” “Loser” and “Girl.” The stage and lighting design were a lot of fun as well and provided a visually engaging and exciting backdrop. While the festival setting meant a truncated show, I won’t hesitate to catch him again whenever he returns to town.

3. Mew – Frengers 15th Anniversary Tour at Brooklyn Steel, October 14th

Mew are a Danish indie/prog rock/dream pop band that have a number of great albums to their credit. One of my favorites is Frengers, which I didn’t actually discover until a few years after it was released in 2003. Imagine my good fortune to discover one of the few US dates on its anniversary tour happened to coincide with my trip to New York this fall. Hearing the record performed in its entirety, from the opening guitar+drum salvo of “Am I Wry? No” to the final soaring cacophony of “Comforting Sounds” was a moment out of time in the best possible way.

2. boygenius – Thalia Hall, November 13th

A truly transcendent night of music that began with each of the collaborators – Lucy Dacus, Phoebe Bridgers and Julien Baker – playing her own masterful set, then all coming together for a finale of their entire EP. The vocal control evident in the contrast between the raw power unleashed on “Stay Down” and the restraint on the acoustic and un-miked closer “Ketchum, ID” proved these ladies really can do anything.

1. Frightened Rabbit – The Midnight Organ Fight 10th Anniversary Tour at Thalia Hall, February 16th

This is incredibly bittersweet, in light of frontman Scott Hutchison’s death in May. Scotland’s Frightened Rabbit played two nights in Chicago during a brief album anniversary tour, hosting what turned into an audience sing-along of Midnight Organ Fight in its entirety along with a mix of other favorites including “Holy,” “The Woodpile” and “The Oil Slick.” Losing such an honest and powerful voice this year hurt a lot. I’m so thankful I had one last evening of catharsis with him.

#music

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