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rantingnbanting · 5 years

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It’s finally time

Spider-Man: Far From Home Movie Review

Hee hee i had a shit ton of this done already and then my dumbass accidentally closed the tab so yeah :’)

For some reason, this took me so long to want to write. I saw the movie this afternoon, and it’s almost midnight as I’m writing this. Granted, I am on vacation and was a little busy, but I just needed time to process this movie. The movie seemed really dense to me, and I just had to scroll through tumblr looking at other posts to finally get the nerve to write this.

So, the moment you’ve all been waiting for...

***SPOILER WARNING. MAJOR PLOT POINTS AND THE ENDING OF THIS WILL BE DISCUSSED SO IF YOU DO NOT WANT SPOILERS DO NOT CONTINUE***

Just as an FYI, I saw this with my sister, a fan of the MCU, and my dad, a diehard DC fan but just saw this for shits and giggles. And I will be referencing endgame a lot during this too.

- Did I like it?

Yeah!!!! I loved the humor in it, and the plot was well written. Mysterio is an awesome character in this, though he is a villain.

- What didn’t I like?

(I’ll go into more detail later) The cgi in this, the lack of some of the topics introduced in endgame, the casts’ age, and some of the Peter X MJ scenes (I said some! I do love Peter and MJ together!)

- Pacing?

Honestly? Pretty good for a marvel movie. Marvel usually has some issues with pacing *cough cough endgame cough cough*, but I was thoroughly impressed with this one. Everything seemed well drawn out, and I was never left feeling that a certain scene was too long/short. Kudos because that I am very picky with pacing lol

- Humor

This movie is probably one the funniest movies in the MCU, and it was one of the most memorable aspects of the movie. The morning announcements made my sister and myself wheeze and I had tears rolling down my face as I cackled. Ned and Betty were the truest presentation of Highschool romance I have ever seen. Starting on a whim, being attached to the hip for a few weeks (maybe even a few months), and then breaking up. I honestly loved them together. I’m happy they didn’t go down the “sad and neglected best friend” route with Ned because he deserves so much better. “I’m strong and sticky” made my stomach hurt because I was laughing so hard. PETER BITCH-SLAPPING FLASH WHEN HE WOULDNT GIVE BACK THE GLASSES. AHDHDBDJDHDJ

- plot?

I thought the plot was really clever. Like I said earlier, anyone could see mysterio’s real side from a mile away, but the way they went about the conflict and the climax of the story was very interesting as well. The only thing is that when they were first explaining the secret plan and thinking everyone, I got a little lost. I did finally realize how the bots produce an illusion, but I kind of had to figure that on my own. I was confused how things were being broken and destroyed by the creatures, but the team said that nothing was actually getting broken because it’s all just an illusion. Idk there were some plot holes, but they got mostly filled, so I’m not worried about it lmao.

- Favorite character?

While I do love Ned with every fiber of my being, he just didn’t have the same spark that he did in homecoming. Maybe that’ll change as I see the movie again, but my favorite character in this movie was definitely Mysterio. Jake Gyllenhaal is a phenomenal actor, and I don’t think anyone could have pulled off Mysterio like he did. As I assume most of the internet knows, Mysterio is an actual villain in the Spider-Man comics, and he has powers that create illusions, and I thought that this was a really cool way to portray Mysterio with making him a person. Even without knowing that Mysterio is a villain in the comics, it wasn’t that difficult to predict that he would reveal that he’s a villain. Thinking back, there was a part during the the fight with the fire monster in Prague when something broke off of the Ferris wheel, and I thought to myself “damn, it was almost like the Ferris wasn’t really there” And the illusion scene was by far the coolest scene in the entire movie. It gave me strong Doctor Strange vibes (I wonder why I like I so much lmao) and it showed how vulnerable Peter is. But Mysterio has the aura that just made you love to hate him, and I love characters like that.

- Soundtrack?

It was awesome. Mysterio’s theme is definitely the best. I actually listened to the soundtrack before I saw the movie, and it was cool to hear some of the familiar tunes. It would fucking awesome to hear an ensemble perform the Far From home suite live.

- Peter and MJ

Okay, I understand what they were trying to do with their relationship: display a typical, awkward high school relationship. Ngl, they kind of overdid the awkwardness. Not every relationship is both people constantly stuttering and muttering when they’re next to each other. And that fuckin kiss. It made me so uncomfortable. Me and my sister literally looked at each other and said, “That was the most awkward thing I have ever seen in my entire life” after the kiss. I like that the writers were trying to break from the stereotypical high school relationship, but I do think they overdid the awkwardness a bit.

- WHERE THE HELL WAS MORGAN STARK

HOW DARE YOU RIP A FATHER FROM A BOY AND GIRL AND NOT HAVE THEM INTERACT AT ALL. This is probably one of my biggest critiques because this movie makes it look like they introduced Morgan just to take her away. Same with Harley! Imagine how awesome peter and Harley could be together.

- CGI

Okay, I blame my dad for this. He was the one who introduced me to CGI (Computer-generated imagery) and how to spot it. In marvel movies, CGI is not uncommon, especially in the fight scenes. And I honestly did not give endgame enough credit when it came to CGI hulk. He looked absolutely phenomenal, but I have to say that a good amount of the CGI in this movie was rough. I always say, if you can tell it’s CGI, then it’s bad CGI. It’s really hard to explain, but if something looks like it belongs in a video game rather than in a live action movie, then the CGI is pretty rough. It takes experience to learn how to point it out. Mysterio didn’t look bad the entire time, but some shots of him floating (like the rooftop scene) just looked so fake. And the swinging scene at the end was absolutely horrendous. It looked like MJ was swinging with the peter from the ps4 videogame. The background imagery and the elemental monsters looked real for the most part, and they looked great and real. Just some character mods were really wonky.

- Cast

Okay, I’m going to just say it. What the fuck was that cast? To me, everyone looked so much older than the first one. Like I get it that some of them were “blipped” and aged, but holy shit Ned and peter looked so much older than in the first movie. And, holy shit, Peter is ripped in this movie. I know Tom mentioned in an interview that he was more buff in this movie compared to homecoming, but he was so much more, for lack of better phrasing, wide.

I mean, come on

If the next movie is set in high school again, I honestly have no idea what they will do because, right now, Tom is 23 and Zendaya is 22. And yes I get it that it’s not that old, but if the next one is going to wait 2 years at least for the next Spider-Man movie, they’ll be less like high school students and more like adults.

And while I would have been extremely pissed if they changed the cast, I’m just kind of peeved on how mature the cast looked.

- Ending?

The first ending was what everyone wanted. I could have left the theater then and would have been perfectly fine. But I had to watch the end credits scenes. And then my world crumpled. Hearing Mysterio reveal Peter was so surreal. Almost too surreal... but that’s for another post ;). It provides for a great cliffhanger, but it makes me wonder how they’re going to continue the MCU from here. Obviously, they’re going to do the Black Widow Movie and Guardians of the Galaxy Volume 3 (hopefully) but what next? Is there going to be another “avengers” movie? If so, what about Peter? Bc he’s in quite the pickle rn. And the pair credits scene just confused me ngl. So, Fury and Hill were never actually there? It does make sense why fury didn’t catch onto some things, but it does allow for some interesting conversations. This plus BARF equals who knows what for the future because this stuff is practically the reality stone. No one knows what’s real or not. And that’s scary. Also, does the multiverse exist? I know Beck and his crew made some stuff up for the purpose of tricking Fury and Peter, but the avengers still used the quantum realm to time travel, and who knows what types of alternate universes that created.

What does the future hold? No one knows

But it does allow for interesting theories ;)

Side note: I really noticed the resemblance in these in ffh

Hey marvel please introduce Deadpool played by Ryan Reynolds into the MCU thansk ily

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deadcactuswalking · 4 years

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REVIEWING THE CHARTS: 09/10/2020

Okay, so as you know this show has been on a “hiatus” for reasons I explained in the last episode and I had been thinking of different ways to continue this. Eventually I came to the conclusion that it does not really matter if I skipped tens of songs, maybe even more than 100, because a lot of them don’t have lasting success and if I kept doing these massive blocks of songs from months ago I would pretty much get nowhere by the end of the year. So, I’m writing this on Saturday, meaning the UK Singles Chart updated yesterday, and I think it’s about time I get back in schedule. This week’s #1 is “Mood” by 24kGoldn and iann dior, and let’s discuss the new arrivals in the UK Top 75. Welcome back to REVIEWING THE CHARTS.

Dropouts and Returning Entries

So, how will this work? Well, it’s going to be pretty simple. No rundown of the top 10, no climbers and fallers, just reviews of the usually about 10 or so new songs that hit the UK Top 75. I’ll cover returning entries and drop-outs as well ever so briefly at the start of each episode, just for some additional clarity and information, I guess. This was actually a pretty damn busy week to start off with so we have a lot of drop-outs, some of which are pretty notable, like “Secrets” by DJ Regard and RAYE, “Fake Friends” by Ps1 and Alex Hosking, “Dinner Guest” by AJ Tracey and MoStack, Tion Wayne’s “I Dunno” featuring Dutchavelli and Stormzy, “Dancing in the Moonlight” by Jubel and Neimy and some other relatively unimportant one-week hits I won’t be mentioning here. Of course, there are songs that have been on the chart for months but I only recently covered like “This City” by Sam Fischer, “Kings & Queens” by Ava Max and “Don’t Need Love” by 220 KID and Gracey, as well as some gradual losses from the late Juice WRLD, those being “Smile” with the Weeknd and “Wishing Well”. Returning to the chart are “Real Life” by Burna Boy and Stormzy at #71, “One Too Many” by Keith Urban and P!nk at #57, “Dreams” by Fleetwood Mac at #55 43 years after release because of this guy on TikTok drinking cranberry juice (That’s 2020 for you) and finally, “Levitating” by Dua Lipa at #30 thanks to a pretty good DaBaby remix. Now we have two album bombs to start this season off. Let’s go!

NEW ARRIVALS

#66 – “Always Forever” – Bryson Tiller

Produced by J-Louis, Teddy Walton and CAMEone

Bryson Tiller. I don’t really get or even know his music enough to spark any insight before listening, and to be transparent, no, I didn’t listen to that comeback album. Anniversary is a sequel of sorts to his debut album, Trapsoul, and I can expect just that, I imagine, from this very quick pre-release single dropped just a week or two before the album proper. This drowned-out, watery R&B style doesn’t usually work with me, especially when Drake does it, and Tiller’s nasal, high-pitched squeaky crooning here also does not fit this otherwise lovely production, with some fat bass 808s I really enjoy. The chorus is a mess of fleeting background vocal runs and the performance here while not embarrassing feels kind of lifeless and checked-out. Admittedly, some of the harmonies he hits in the third verse/bridge are pretty nice-sounding, but it feels wasted when the song just continues to flutter off afterwards with the same dull key patterns and frankly, this is just an uninteresting and clearly unfinished track barely under three minutes and never reaching a point where it feels worth listening to. If I were a Bryson Tiller fan, I would be pretty underwhelmed with this.

#65 – “Years Go By” – Bryson Tiller

Produced by Streetrunner and Tarik Azzouz

Well, here’s the opening track from the record, where Tiller has to make that impactful first impression, and with this reverb-drenched guitar melody in the intro and the distorted sound effects that start off the song proper, it starts off solid, and, I’m afraid to say, continues to be so. This obviously goes for a more direct trap-rap vibe with a skittering drum pattern that really bumps and a... pretty underwhelming two verses from Tiller here, who prefers to just kind of impersonate the Weeknd until the beat abruptly cuts out for pointless Auto-Tuned vocal riffing, and, yeah, this is just clumsy. The flows here are tired and messy, often clinging off the ledge of the beat, and even if I really like the cute synths in the outro, I can’t excuse this. Once again, it just seems unfinished, and lyrically on both tracks, he’s saying nothing of any substance. I guess he shouts out Jack Harlow and... Danny Phantom? He also seems to refer to himself as “Godtiller” by the end, as in Godzilla, because no-one’s stopping him from doing so. Sigh, next.

#62 – “Bet You Wanna” – BLACKPINK featuring Cardi B

Produced by TBHits, Mr. Franks and Teddy

You may be able to recognise a pattern here but no, I didn’t listen to this really short debut album by BLACKPINK either, pretty fittingly called The Album. This isn’t really a collaboration I understand or expected but it’s not that far-fetched, especially since BTS did collaborate with Nicki Minaj a year or so ago. The songs features the girls only singing in English over some finger-snaps that sound painfully fake and some demanding piano that is completely switched for the pre-chorus only for it to come back later and then technically in the chorus but covered in tropical-like percussion and some background squealing, only for Cardi B to interrupt with a surprisingly PG verse – you can really tell she had to censor herself here – and that’s all she does in the song. This actually is a fair bit more refined than K-pop I heard previously as it seems to at least stick to a musical motif which seems to be a pretty difficult concept for a lot of these bands. I mean, that’s probably just because of the Western producers on this song like TBHits, who’s worked with Ariana Grande before. It isn’t a headache like “Kill This Love” and I really love the vocal performance from who I thinks is “Jennie” here although the others seem to scroll through ugly distortion effects, particularly in their verse. I mean, it sure is listenable and honestly kind of a far cry from the earlier songs I heard from them, but it’s still not very good. Sorry.

#60 – “On My Mind” – Diplo and SIDEPIECE

Produced by Diplo and SIDEPIECE

So, in 1996, R&B girl group 702 released a pretty solid new jack swing jam as their debut single, featuring Missy Elliott, called “Steelo”. It was a minor hit in itself and even sampled the Police – the rock band fronted by Sting, I feel the need to clarify considering the current climate. It’s not a bad song, albeit perhaps overlong and unintentionally intimidating at times. You can tell Missy’s phoning it in a bit here, but she’s still as charming as ever here. 24 years later, we have “On My Mind”, a glorified house remix of the tune by Diplo and two of his buddies, basically. Is it any good? Well, yes. The sprinkling of cute synths in the intro combined with that leering vocal line really replicate the vibe of the original song, and it does that even better when a single vocal sample from the bridge is looped constantly under a pretty pounding bass and a typical four-on-the-floor house track. This song’s bridge of its own is incredibly pretty as well, to the point where the squawking and low-tone beeping don’t really bother me, especially when it just... crashes with buzzy bass drops that sound like a mix of a dubstep track and a car zooming past. It shifts up the entire song and honestly it works, it’s an effective climax, this is pretty fun, albeit lacking many ideas. It doesn’t really matter if those ideas are executed as well as they are here, so, thanks, Diplo.

#54 – “Rich Gnarly Dude Stuff” – 21 Savage and Metro Boomin featuring Young Thug

Produced by Metro Boomin and Peter Lee Johnson

Of course, it’s not actually titled “Rich Gnarly Dude Stuff” but I’ve got to at least try and keep this show clean. Now, I haven’t listened to many albums this year but 21 Savage and Metro Boomin’s collaborative album Savage Mode II is definitely one of the best of those few. Admittedly, it has a pretty lacklustre beginning and it doesn’t really make sense as a sequel to that Savage Mode EP, particularly because it’s trying to pay homage to a bunch of different styles of 80s, 90s and 2000s rap to the point of identity crisis, but it is one of the best album listening experiences I’ve had this year, with some absolutely killer production from Metro, the sheer brilliance of the Morgan Freeman interludes and 21’s improvement as a rapper being really on show throughout the record. “Rich Gnarly Dude Stuff” is one of my absolute favourites on the album, with the smooth as hell synths and that violin sample that is just hypnotic. 21 Savage slides on this beat and he actually sounds pretty slick with Auto-Tune here, especially over this production which is just beautiful; Metro really is the highlight of the record all things considered. In fact, 21 kind of loses me with his brand flexing and the weird empty spaces that he seems to compensate for by jumbling words together to fit the meter which is unfitting for the mood of the song. Thugger, however, I’m convinced can do no wrong. His upbeat, joyful inflections are in great contrast with his crooning in the second half of the verse, and even though he only really uses one flow through the verse, it leaves a good impression on me fast enough for me to dismiss that. Are they on-topic? Barely. Are they saying anything of substance other than some flexing, sex talk and threats? No, I mean, it’s 21 Savage and Young Thug, but the most important thing here is delivery and these guys have it in spades. I’m a lot more convinced that Thugger has hit men than YoungBoy Never Broke Again is all I’m saying. That being said, please don’t send your shooters, Mr. Broke Again.

#43 – “Runnin” – 21 Savage and Metro Boomin

Produced by Metro Boomin

After the gorgeous introduction from Metro and Morgan Freeman, you are met headfirst with the wrath of... a pretty Diana Ross sample. The way Metro flips this into this head-nodding almost Memphis-like trap beat makes it sound a lot more ominous and menacing though, and it really hits when 21 comes in with his opening bars that start off the project, giving you a basic rundown about what he’s going to do in the album only in the first verse: beat people up, buy cars, spend money on women who he only keeps around for sex and finally, shoot the opps. In fact, he calls his Draco a paedophile because “all of his opps gettin’ touched”, which is a questionable line. 21, are you saying your opps are all children? Regardless, 21 does have some pretty funny wordplay and punchlines, particularly in the second verse with a really clever line about biblical marijuana (Go figure). Basically, he grows his weed in the Garden of Eden, but “zaza” is really high-quality marijuana and also a name mentioned in the Bible. I don’t know if that was intentional or not but if it was a coincidence it at least adds to the lyrics of the song. I have to say though that the chorus is weak and tedious as all hell, and by the end of the song that sample has well-overstayed its welcome, making the song hit a lot less harder than I think was intended. Hey, at least it has Morgan Freeman on it.

#40 – “Lovesick Girls” – BLACKPINK

Produced by R.Tee and 24

So, here we are in the top 40, with more BLACKPINK and to my surprise, honestly. I figured that the song with the big western rap star would be here but I suppose this did have a video behind it – that was controversial in Korea because of how the Korean Health and Medical Workers Union objected to Jennie wearing a sexualised nurse outfit, because, well, sure. This time the lyrics are mostly in Korean, and it sounds immediately much more like what I’d expect from what 2020’s K-pop has to offer. There is a pretty clean guitar loop that the whole song runs off of, some great vocal performances amongst simple rap flows and a drastic shift into an English chorus with some 80s-like synths and admittedly a nice synthpop beat. I prefer this a lot to “Bet You Wanna” but as it is it’s just inoffensive. I like Jennie’s rap verse though. “Don’t want to be a princess, I’m priceless / a Prince not even on my list”? Come on, that’s kind of fire, at least for middling Korean electropop standards.

#38 – “Heart of Glass” – Miley Cyrus

There aren’t any production credits on Spotify, Wikipedia or Genius, mostly because this is a live performance from iHeartRadio Music Festival – however they’re still doing that in these times – that was just dumped on streaming and impressively got all the way into the top 40. To be honest, I can’t say I’m a fan of the original – it’s a well-written song flattened by weak albeit infectious disco production and whilst the groove is infectious, the song has just never clicked with me, so I’m not excited to listen to Cyrus’ cover but hey, anything to delay talking about back-to-back Drake features and D-Block Europe. I WAS excited however when it started with a rock breakdown, especially that drum fill, but it soon restarted to the groove that we all know the song for and one that again, I never was too fond of to begin with. Miley is energetic, raspy and almost growling here at points but the instrumentation is somewhat stiff, which again is a problem I have with the original. It also doesn’t replace the synth riff with an epic guitar solo as I kind of hoped. At the point where Miley drops into “na-na-na”’s and unintelligible yelling is when I just zone out. I really hoped this could have been better, but I’m not a fan.

#35 – “Come Over” – Jorja Smith featuring Popcaan

Produced by Izaiah and MadisonLST

It’s rare there’s a song on these charts that intrigues or excites me in the way this one does, not because it’s particularly novel or groundbreaking, but just because this is a new song from two artists I like but haven’t checked out much from, and I have yet to hear it so I’m glad it debuted this high. I’m happy for Popcaan too, he seems to be having a good year signed to OVO and all, even if I’ve never really tried to listen to his solo stuff. I’ve heard many features from the guy though, with Drake, Kanye, Pusha T, Gorillaz on “Saturnz Barz” and especially alongside Jamie xx and Young Thug on one of my favourite songs of all time, “I Know There’s Gonna Be (Good Times)”, and he does not detract from a single one of them. I enjoyed Smith’s debut album a fair bit and whilst nothing she’s released since has really clicked with me, I’m still excited to hear what she has in store. I really love the production here, even if it is a tad fragmented, especially with that awkward vocal sample, but the atmospheric and hell, even spacey dancehall beat really evokes dub. I also hate the way that vocal sample is manipulated to a nasal, pitch-shifted tone in the bridge, but I guess the chorus is really pretty. Popcaan is kind of obnoxious crooning on here but he flows when he starts really flowing... then he’s immediately interrupted by Jorja singing the first verse again for whatever reason, and, yeah, this song’s a mess. It’s so oddly produced that by the time the air horns, yes, air horns, kick in during the outro, you are left with no real idea of what you just listened to. Or at least I was.

#28 – “Mr. Right Now” – 21 Savage and Metro Boomin featuring Drake

Produced by Metro Boomin and DAVID x ELI

And now, Drake. Thankfully this is the better of the two Drake-featured songs we have here, but this is still a low point on Savage Mode II and definitely an unnecessary inclusion. The production here is actually incredible, with those sweet strings and a quiet vocal sample that is absolutely infectious. The issue here is 21 Savage cannot really do an R&B hook that well, and even when he’s in his element on a trap beat, his bars are non-existent and generic. That pre-chorus is just awful coming from 21. I hate to say it, but maybe Drake could have been more involved here other than the second verse, where he starts by just repeating what 21 said, and then continues to just be Drake, and I’m not sure about the general public, but listening to Drake being Drake is nothing more than monotonous at this point. The only interesting thing he really says in his verse is that he used to date SZA in 2008, which, according to SZA herself, is actually inaccurate by about a year, which is just... well, Drake being Drake. Also, I’m really sick of quarantine music already. You should always reflect on the experience before making art about something like this, and I feel like a fleeting reference to the pandemic with a one-and-done bar I’ve heard a couple times before already (“We in quarantine, but my M’s long”) just dates this slow and sloppy R&B cut even more. Calling it now: if Metro hadn’t produced this, this would be unlistenable.

#24 – “Outta Time” – Bryson Tiller featuring Drake

Produced by Nineteen85, Vinylz and 40

Well, I guess it’s time to test this hypothesis. I don’t think that Drake has come out with anything salvageable this year, mostly because he’s been releasing leftovers and branding them as such, and they still top charts. I mean, “Laugh Now Cry Later” is okay but that’s mostly saved by 20 seconds of Lil Durk being an absolute treasure. The way he croons gargled nonsense and follows it up with “Bring Drake to the hood, surround Drake around Drac’s” might be the funniest and best moment in pop music this year. This song with Bryson Tiller is nowhere near as amusing but honestly Drake mumble-singing over a pretty classy 90s-reminiscent R&B sample is usually quite pleasant... here he just sounds whiny and immature, and he’s pretty clearly recycling cadences and flows he’s already used. He also has zero chemistry with Tiller, maybe because they never interact on the song, with Tiller’s Auto-Tuned crooning saved for the last half of the track, mostly because I imagine it’s easier to get streams with Drake at the start. Honestly, I prefer Bryson Tiller’s part. Hey, I don’t like his voice, but over that sweet Snoh Aalegra sample, I’m not going to say it doesn’t work. This is the best I’ve heard from the album but I mean it’s not like there’s competition.

#21 – “Wonder” – Shawn Mendes

Produced by Shawn Mendes, Nate Mercereau, Scott Harris and Kid Harpoon

Really? Only #21? Okay, well, I suppose some Shawn Mendes songs are slow burners but considering how successful “If I Can’t Have You” and “Senorita” were right after release I did expect this new lead single to seep at least into the top 15, especially since the UK has a tendency to just let anybody in the top 20, but, hey, if the song’s good, it shouldn’t really matter. Much like “In My Blood” from the last album rollout, this is a ballad, although this is specifically a post-breakup ballad where he contemplates on his manufactured relationship with Camila Cabello. So it couldn’t get into the top 20 even with fake personal drama surrounding the single? Wow. Well, I actually kind of like the lyrical content here, especially the second verse where he briefly addresses toxic masculinity, and how it makes him feel like less of a man when he cries because that’s what society’s conventions and norms programmed him to feel. I would like it a bit better if it weren’t as on-the-nose and kind of clumsy as it is, especially since the rest of the song is just wondering what it would feel like to be loved by Camila Cabello and some dreary, post-breakup lines. The first verse taps into more profound and insightful territory to but it goes nowhere and I find it hard to care about this melodrama at all, even if it is backed by a pretty powerful choir arrangement. Much like “If I Can’t Have You” and some of his other tracks before this, especially “Mercy”, this feels like a pretty overproduced, underwritten angst jam with absolutely no teeth to it other than a performance from Mendes that goes into some belting territory but is overall too restrained to fit this kind of anthemic orchestral instrumentation and especially those drums. In conclusion, this is a waste of potential but at least it had potential to begin with, unlike...

#11 – “UFO” – D-Block Europe featuring Aitch

Produced by Cardo, Cubeatz and DY Krazy

People complain about the charts all the time, particularly the type and quality of music on it. This is especially true with the USA’s Billboard Hot 100 and I understand that chart has incredible flaws it hasn’t made up for, but at least it doesn’t have D-Block Europe every other week. I mean, a pretty great British rap song even ended up on the Hot 100 thanks to TikTok and DaBaby, that being “Don’t Rush” by Young T & Bugsey featuring Headie One. That proves that these recurring antagonists of REVIEWING THE CHARTS are not necessary; I like Young T & Bugsey. We could just replace these oversaturated whining idiots with those guys, but no, we have Young Adz and Dirtbike LB, and they’re here to stay. Oh, and even better, they’re here with Aitch, pioneer of the new “gentrified drill” genre. Apparently to Young Adz, this is a “different” song that could isolate their audience, but I just see this as pretty normal Young Adz moaning over guitar-trap beats. It’s not drill, but it’s not like this is all that different or interesting... like at all. Adz has this hilariously bad “ooh-wee” flow that just sounds ridiculous on this beat, and Aitch proves his status as the whitest man in UK rap – and this is the country that brought you Professor Green. The song isn’t even about spaceships or any type of unidentified flying object! It’s just about having sex with drug dealers, with the only reference to the supernatural being the intro where Young Adz says that this sex is apparently happening in space... for no reason. And Dirtbike LB, well...

I’mma cover my pain with these shades

Just as embarrassing as usual. These guys have got an album out this week by the way, with 29 songs and a full 91 minutes of this same garbage they’ve been pumping out mixtapes of for two years now. They’re still funny occasionally and never on purpose, but the humorous inflections and stupid lines are now so few and far between that it’s barely worth pointing any of that out anymore. God.

Conclusion

This wasn’t just a busy week to start off on, but also a week where I’m not left impressed by really any of this, even from the album I liked. Worst of the Week still goes to D-Block Europe and Aitch with “UFO” with Bryson Tiller picking up the Dishonourable Mention for both of his first two lousy tracks here. Other than that, well, I only really like “Rich Gnarly Dude Stuff” by 21 Savage, Metro Boomin and Young Thug so that runs away with Best of the Week, but I guess I’ll give the Honourable Mention to “On My Mind” by Diplo and SIDEPIECE, for at least being kind of fun if not anything else.

Here’s the top 10 for this week:

...and that’s all from me. Follow me on Twitter @cactusinthebank for more garbage and hopefully I’ll see you next week.

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recentnews18-blog · 6 years

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New Post has been published on https://shovelnews.com/alan-yang-is-keeping-it-weird-with-his-new-amazon-series-forever/

Alan Yang Is Keeping It Weird with His New Amazon Series Forever

Alan Yang on the set of Forever with Maya Rudolph and Fred Armisen.

By Colleen Hayes, courtesy Amazon Prime Video

If you were to picture a successful screenwriter and director’s house in the Hollywood Hills, you’d probably imagine something like Alan Yang’s place. Perched in a cul-de-sac at the top of a steep winding street, the mid-century modern home hovers above the city, a wall of windows framing a glimmering view. When I arrive to meet the co-creator of Master of None and the forthcoming Amazon series Forever on a warm July evening, a cluster of people dressed like gaudy refugees from a 1980s Sunset Strip hair-metal band stand outside a house a few doors down from his place, planning their party route for the night and living out their L.A. dream.

Yang’s own Hollywood fantasy seems to involve hard work, high-powered meetings, and flights between New York, Taiwan, and Los Angeles as he plots ever more ambitious idiosyncratic projects. Earlier that day, he’d met with executives to discuss Tigertail, the multi-generational Asian-American feature film starring John Cho, inspired by his own family saga, which he is writing and directing for Netflix. He is also in the early stages of producing Little America, an anthology series about immigrants for Apple, which will be written by Kumail Nanjiani and Emily V. Gordon.

Right now, though, there’s Forever, the uncanny dramedy Yang co-created with Matt Hubbard that drops on Amazon Prime on September 14. Starring Maya Rudolph and Fred Armisen, Forever takes the idea of marital commitment to wild, existential extremes.

Yang got his big TV break when Michael Schur and Greg Daniels hired him for the writing staff of Parks and Recreation. He had met Schur—virtually—through a baseball blog called Fire Joe Morgan that both men obsessively contributed to. (“It was legitimately crazy,” Yang said. “We would write 15,000-word screeds for no money!”)

After absorbing the show’s sweet vibe and character-based humor for six seasons, Yang and Parks and Rec pal Aziz Ansari decided to create their own series, Master of None, based on their friendship and “the fact that we like to eat food together”—which is, Yang hastens to add, “not the worst way to start a working relationship.” They wrote a pilot and sold it to Netflix, whose scripted slate was still in its infancy. But when Parks and Rec got picked up for a final season, they put their own project on hold, giving them time to think about creating something more original with Master of None.

At one point, Yang said he and Ansari were holed up in New York, trying to write, and feeling increasingly frustrated. “I told him, ‘My dad grew up basically in a tiny village in Taiwan. He had a pet chicken and he had to kill it because he didn’t have enough food to eat. So whatever happens, it’s all gravy because here we are in a hotel room talking about that television show we get to make.’” Ansari exclaimed, “That is way more interesting than any of the stuff that happens to us!” The duo decided to “make episodes about other people’s points of views,” including one threaded with flashbacks to the immigrant experiences of Ramesh and Peter, the dads of Ansari and Yang’s fictional alter-egos, who share some of their stories over dinner at a restaurant.

Yang is telling me this over dinner at Majordomo, David Chang’s buzzy, senses-overloading Korean fusion palace on the outskirts of downtown L.A. The chef (who has his own TV show, Ugly Delicious) is a friend of Yang’s, something immediately clear from the way they enthusiastically bro-hug, and accentuated throughout the night, as a string of amazing but unordered dishes arrives at our table—special treatment that starts to feel like a delicious stamina test.“You’re ready, you’re ready!” Yang coaxes me encouragingly at one point, as the waiter whisks away several half-eaten plates, filling the cleared space with a glistening serving of pork belly.

Food played a huge part in Master of None, as did the hyphenated-consciousness of Asian-Americans. At the 2016 Emmys, accepting the prize for outstanding-series comedy writing along with Ansari, Yang noted, “There are 17 million Asian-Americans in this country, and there are 17 million Italian-Americans. They have The Godfather, Goodfellas, The Sopranos . . . we got [Sixteen Candles character] Long Duk Dong. We’ve got a long way to go.”

Yang seems to be doing his part to fill that chasm. He describes Little America as, “like Black Mirror, but instead of being super-dark sci-fi stories, it is immigrant stories,” while his family saga, Tigertail, jumps between current day New York and Taiwan in the 1950s, 60s, and 70s. “Even three years ago, I wouldn’t have thought it was possible,” he said of writing and directing the latter. “But now, I think, generally, things are changing—not only for me, but for everybody.” It doesn’t hurt that the movie now follows in the wake of Crazy Rich Asians, which domestically grossed $34 million in the first five days of its release.

“I’m excited to try to make a movie where there are three-dimensional, smart, funny, interesting, hopefully compelling characters, who happen to be Asian,” Yang continued. “My favorite stuff, no matter what the genre, is character-driven stories [and] specific details that animate that character’s point of view. So their background matters sometimes, and what they look like matters, and where they came from matters.”

Yang came from Riverside, California, the child of immigrant parents. A self-described “tiny Asian kid in big glasses,” he said he avoided getting bullied by being one of the fastest runners on the playground. He showed me an Instagram post from Bobby Hundreds, a streetwear designer and former schoolmate, who wrote that Yang “was the kid my parents were constantly comparing me to. ‘Why can’t you be more like Alan?!’ He was the smartest kid by a mile, never got into trouble, and got accepted to Harvard. But the annoying part was that he was actually really COOL. Like, he played in a band and stuff. So, I couldn’t even hate on stupid Alan Yang.”

At Harvard, Yang studied biology because his parents had instilled in him the idea that science and math were a safe zone for people of color. “When things are subjective, that’s when things get taken away from you,” he said. “If you are an immigrant and you write an essay, a teacher who may not have the same perspective as you might dock your grade,” whereas, “if you get all the answers right on the math test, you got them right, they can’t take that away from you.” Yet Yang gravitated toward the arts—playing around Boston in a group called Model Kit, dating a girl in a band, and writing for the Harvard Lampoon. He says with a grin, “I wanted to hang out with smart people and creative people.”

Pursuing that path led ultimately to his current life, where he gets to collaborate on projects with people like Nanjiani and Gordon, and invent a black version of Friends for Jay-Z’s “Moonlight” video. The experience surrounding the making of the extended video—which stars Issa Rae, Lakeith Stanfield, Tiffany Haddish, Jerrod Carmichael, and Tessa Thompson—felt like “a dream,” said Yang. “Like I was sleepwalking.”

Fred Armisen and Maya Rudolph in a scene from Forever.

Colleen Hayes

And then there’s Forever, his new Amazon show starring Armisen and Rudolph, a dramedy so unusual in tone and structure that it presents considerable problems for a journalist faced with trying to describe it without spoilers. It is a story about a suburban neighborhood, an ordinary couple, marital malaise, and also . . . it’s not.

“Alan was talking about a lot of the creative freedoms he had enjoyed making Master of None,” Rudolph recalled by phone of their first meeting to discuss a possible collaboration.

“I was most interested in having them play more grounded characters, and play more naturalistic scenes,” Yang said. “That’s my taste generally. I know that they’re such skilled sketch performers but I just felt like they could do sort of gentler, quieter stuff.” He tapped his friend and former Parks and Rec cohort Hubbard to partner with him. The duo, said Rudolph, “had such a great take on the life of a relationship,” and developed roles that would allow her and Armisen to stretch beyond the kind of broad characters they inhabited on S.N.L.

In Forever, Armisen and Rudolph play June and Oscar, a long-married couple in suburban Riverside, Yang’s hometown. They adore each other, but there is always the sneaking sensation, as Yang put it, of, “Is that all there is?” The answer in Forever is a surprising mix of yes and no, as the series repeatedly pulls the narrative rug out from under its characters and its viewers. Among the disruptive elements in the series is Catherine Keener as a rebellious, charismatic neighbor who inflames June’s sense of frustration and longing.

“There’s some crazy shit that happens,” Yang said, emitting a laugh that actually sounds like a distinct ha-ha-ha. He emphasized that he wanted to unravel the traditional half-hour comedy series structure and to keep “the isolation and the loneliness of domesticity . . . somewhat tethered to the reality that people go through, to still be relatable.” After apologizing for name-checking so many “pretentious-ass films that people will hate me for mentioning,” Yang cited David Lynch, Wim Wenders, Tim Burton, and Krzysztof Kieślowski as some of the directors that inspired elements of Forever.

“He definitely goes there with his references,” Rudolph said affectionately. “Sometimes I just say, ‘Yeah!’ because I don’t know what Eastern Bloc filmmaker he is talking about!”

As for the future, Yang said he doesn’t know if there will be a third season of Master of None, but it’s not impossible. (“Aziz and I are always talking,” he wrote via e-mail.) And Yang is leaving the door open for another season of Forever, if this series about married life and existential turmoil can find its audience. He knows that it is “a weird show”—and a slow-building one that goes against Amazon’s current mission of creating noisy, Game of Thrones-scale hits.

But then with so many networks and platforms competing for attention, it’s actually the perfect time “to make something that is interesting and bold and new and audacious,” Yang argued. “In this environment, why make a show that seems like every other show?”

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Joy PressJoy Press is a T.V. Correspondent for Vanity Fair. Her book, Stealing the Show: How Women Are Revolutionizing Television, was released in February.

Source: https://www.vanityfair.com/hollywood/2018/09/alan-yang-discusses-his-new-amazon-series-forever-and-possible-plans-for-master-of-none-season-three

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