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potteresque-ire · 3 years

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🏳️‍🌈 Rec post!! A queer film + a queer TV series from Hong Kong ~

1) Twilight’s Kiss (叔·叔) (Dir. Ray Yeung 楊曜愷; 2019)

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Twilight’s Kiss offers a very realistic depiction of two elderly, in-the-closet gays in Hong Kong, who have dedicated their lives building a conventional family before unexpectedly falling in love with each other. It is a quiet film, and the romance is told in the same subtle manner as love is expressed (and not expressed) in their generation. The actors were phenomenal at playing regular Hong Kong men of their age (Pak mentioned he “came to Hong Kong”, ie, he was a refugee from Mao’s China, as the vast majority of his demographics was), which added to the resonance of the story ~ they could’ve been anyone, and anyone could’ve been them.

The director of the film, Ray Yeung, is an openly gay man.

(Long review: Hollywood Reporter) Streaming link to film (with English subtitles; pls ignore and close the pop-up window)

2) Ossan’s Love (大叔的愛) (2021)

The unlikely (and hilarious) love triangle between Muk (Left), Tin (Center) and KK (Right) in Ossan’s Love.

For those who found the name familiar, it’s because the series is a (faithful) remake of the popular 2018 Japanese series of the same name. The Hong Kong version is longer (15 episodes; ~ 40 min each) compared to the Japanese original, and its mood is cheerier, sweeter, and also ... more BL, with the lead characters Tin (Haruta in the original) and Muk (Maki in the original) played by two idols, Edan Lui 呂爵安 and Anson Lo 盧瀚霆, from the very popular local boy band MIRROR.

(Being idols didn’t prevent them from kissing. Not in Hong Kong, 2021.) (Yes, they kissed, and hugged and fought and bantered...)

Ossan’s Love is culturally significant in that it became the first gay drama to be aired primetime in Hong Kong, and by extension, in China. Beloved by the locals, it was also very much discussed—hk-queers expressed their (surprised) joy that finally, they got to see a respectful, dignified presentation of who they are and how they love. More importantly, they got to see HKers, older generations included, glued to the TV for their kind of love story, rooting for the lead male characters to get together.

This signifies a broader acceptance of LGBT+ in the city than previously assumed; this is very important and comforting to the community in June, 2021, when the future of LGBT+ rights in the city is very uncertain. After the 2019 protests, pro-democracy leaders have been arrested and jailed in large numbers; newspaper that advocated for freedom has been shut down. Meanwhile, during the airing of Ossan’s Love , the (in)famous pro-Beijing politician, Junius Ho, claimed the series to have violated the city’s much feared, much abused National Security Law—the law that officially aims to catch “traitors”, but has been used as a “catch-all” excuse to arrest political dissidents and suppress the freedoms of the city. Ho was of sufficient prominence that his words could draw the attention of officials who have been sent from across the mainland-HK border to do Beijing’s bidding.

Also, Ossan’s Love was produced not by the powerful, once popular TVB (local TV station), which, with Chinese investors becoming its major shareholders like many other HK press and media companies, has become very pro-Beijing and conservative. The series was produced by ViuTV, a much smaller station preferred by young, pro-democracy Hong Kongers ... which means the future of the series, of its stars (MIRROR’s members are once-contestants of a ViuTV talent show), of even the station itself is also uncertain.

Hence, I’m recommending Ossan’s Love now ... even if the official version doesn’t have the best English subtitles. The full series is on Youtube (links below); the soundtrack is in Cantonese and (Traditional) Chinese subtitles are available, but English is only available via Youtube’s built-in Auto-Translate function.

For those who would like to catch a short scene of two cute HK boys in love, the last 5 minutes of Ep 11 would be a nice place to watch. You can see how comfortable these two bandmates were with each other—Edan (Tin) had played two supporting roles before this series, while Anson (Muk) had never acted before. Edan and Anson have claimed that being close friends in RL meant their intimate scenes were easy to film (BTW, Anson is gay, Edan isn’t).

Edan Lui (Left) & Anson Lo (Right), Harper's Bazaar HK, May 2021. Edan was a uni student before joining hk-ent. Anson was a dance instructor.

(You can also see why, when I watched the Gg + Dd Happy Camp episode very, very early on in my turtlehood, I assumed Gg and Dd would have ample opportunities to work together again, to play and be happy in front of the camera ... just like how I remembered on-screen couples from my days in HK—the couples, the CPs of the time, would collaborate repeatedly after having demonstrated chemistry and become commercial success—in film and TV projects, in variety shows, in awards ceremonies as presenting guests etc etc. This multi-project collaboration was, and still is, viewed as a Very Good Thing, and not only for commercial reasons. The inter-personal fate (緣份) to play on-screen couples repeatedly, per the tradition of HK-ent, is something of a blessing, talked about as a small-scale version of having the destiny, the luck to be together across multiple lives, multiple incarnations. Actors treasure this kind of collaboration and the HK audience celebrates it, regardless of the marital status of the actors in RL. Entertainment news dedicate articles about it.) (There’s actually an example of that in Ossan’s Love: Kenny Wong 黃德斌, the actor who played the titular Ossan, KK, and Rachel Kan 簡慕華, who played his wife Francesca, had already played husband and wife three times before. Rachel had retired from acting in 2017 and moved to Canada; she told reporters that she returned to shoot Ossan’s Love primarily so that she could play Kenny’s wife again).

* Below is a small warning for Ossan’s Love ~ *

The humour of Ossan’s Love is often wild and zany, especially where it adapts from the Japanese original. Some of it, i-fandomers may find uncomfortable. Notably, the titular Ossan (Japanese, meaning “Older Man”) was Tin and Muk’s boss; and he and Darren, another superior of Tin and Muk, were also part of the romantic story line.

One can argue, therefore, that Ossan’s Love contains a *very* “Me Too” situation; however, this is also why I find Ossan’s Love interesting beyond being a Chinese-speaking gay drama—it is clear that the production team of this series meant no disrespect, and from the series’ reception, it’s also clear that hk-queers and other more progressive members among the audience didn’t see disrespect in the product. This series therefore offers a glimpse to the answers of some questions I’ve had: how does Hong Kong of 2021 translate respect for queers (as well as for older men and women) into day-to-day words and actions? How do these culturally-specific habits in speech and behaviour compare to the norms in, for example, the United States (that I’m familiar with)?

“Political incorrectness” was also found in some of Tin’s internal monologue. However, I thought, perhaps, that was why the series has proven to be disarming to the general audience both in HK and Japan, places with a tradition of homophobia stemming often not from malice, but from ignorance, from sex being considered taboo for so much of the places’ history. Tin, as someone who haven’t seemed to have spared a thought about homosexuality before the story had taken place, spoke the minds of the audiences who aren’t familiar with homosexuality. Muk, meanwhile, presented the perspective of someone who already understood what being gay was and wasn’t about. Tin, therefore, led the audience towards Muk and his views step by step, all the while without being judgemental—how could he be? He was one of them too during his journey. He was the student, and he was also the protagonist who everyone—and I mean everyone—loved (in a rather funny manner :D). 🌈

(Long review: BLwatcher)

Links to Ossan’s Love, official version uploaded by ViuTV: EP 1 EP 2 EP 3 EP 4 EP 5 EP 6 EP 7 EP 8 EP 9 EP 10 EP 11 EP 12 EP 13 EP 14 EP 15

ETA 2021/09/16: Streaming with English subtitles is available here.

#pie metas #pie recs

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letterboxd · 3 years

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Poker Face.

Tiffany Haddish tells Gemma Gracewood about taking a holiday from comedy in Paul Schrader’s The Card Counter, her hotel comfort viewing, and why Oscar Isaac thinks of her as Jesus.

“When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working.” —Tiffany Haddish

Comedians taking on dramatic roles is not an innovation in cinema, but it’s which comedian, in which role, that makes a casting choice a talking point. Melissa McCarthy in Can You Ever Forgive Me? Mo’Nique in Precious. Peter Sellers in Being There. Robin Williams in everything.

In The Card Counter, Paul Schrader’s meditative slow-burn on American shame, part of the tension as a viewer lies in what we already appreciate about Tiffany Haddish as a performer. She is an unbridled crack-up, a live wire on screen and off, a former foster kid committed to busting unsustainable Hollywood beauty myths by wearing the same dress throughout an awards season. Her physical comedy is electric, even when it’s a simple raise of an eyebrow.

The wildest thing about La Linda—a gamblers’ agent working the mid-level casino circuit, who spies, in Oscar Isaac’s William (Bill) Tell, a potential new thoroughbred for her stable of card counters—is the way her drinks order changes from hotel bar to hotel bar. “I came in there with my comedy ways and it sucked,” Haddish laughs, disarmingly honest about her leap from the hi-jinks her fans know her for, to her dramatic role in Schrader's new film. “Paul was hard on me at first,” she recalls. “He had to reel me in, make adjustments, strip all this stuff off, all my tools, leave me with these instruments I barely ever use.”

Oscar Isaac and Tiffany Haddish in a scene from ‘The Card Counter’.

There’s an enduring myth that drama is tougher to pull off than comedy, something Haddish’s friend Morris Chestnut corrected her on a few years back. “He’s like, ‘No, what you do, that’s hard work. You are actually overworking yourself, doing these comedies.’ And I’m like, ‘He don’t know what he’s talking about.’ Then I actually did a drama. And I was like, ‘Oh, that was so easy. Oh, that was beautiful.’ It’s way easier. It’s way easier.”

What La Linda doesn’t know, but any casual observer of Schrader’s work will, is that Isaac’s Bill has a past, and that his methodical attempts to keep his guilt in check through a supremely minimal lifestyle, perhaps even to allow himself a spark of pleasure—redemption, even—are about to come unwound.

Before that, though, there’s time for La Linda, Bill and Cirk (Tye Sheridan)—the son of one of Bill’s former, shall we say, colleagues—to become an odd little chosen-family unit as they travel the circuit. Bill and La Linda cook up a nice heat while killing time in cocktail lounges, and her casual business charisma is a charming offset to the deeper themes at play. Writing fresh from a Venice Film Festival viewing, Rahul notes “you keep expecting Haddish to break out of the understated style and that tension works.” Andy agrees: “Her simple outlook on life and lack of existentialism offer a nice contrast to Tell’s brooding sorrow. Plus, La Linda is just a great character name.”

Haddish understood the pull between Bill and La Linda, and La Linda’s desire to probe into his mysterious monotony, in a very specific way: “As a standup comedian, I work with a lot of men that—they’re very talented, they’re doing big things when they’re on stage—but then when they come off the stage you’re like, ‘Who are you? Why are you so dark? Who hurt you? What’s going on?’ I can relate to that in so many ways.”

Still, of all the dramatic writer-directors to work with in America, why Schrader? What was it about his specific brand of lonely-white-man stories that appealed? “Cat People. It’s my jam,” declares Haddish, of Schrader’s 1982 erotic horror reimagining of the 1942 classic (and one of his few films with a female lead, played by Natassja Kinski). “I love that movie. It had some weird, twisted shit in it.” She has been campaigning Schrader to mount a sequel, so that she can have a crack at playing a sexy, predatory jungle cat. “I try to bring it up to him all the time. And he’s like, ‘Tiffany, we’re not doing it. No.’”

Natassja Kinski in Paul Schrader’s 1982 remake of ‘Cat People’.

Haddish imagines that Cat People would certainly be on La Linda’s list of hotel-room comfort watches, along with Shaft and Goodfellas. Haddish, on the other hand, prefers to kick back with series television when she is on the road. “I watch old sitcoms like Martin or, like, The Facts of Life. I love a good cartoon, especially the throwback ones on Boomerang. I really like the old school, like ThunderCats. That’s a good wind down for me.”

Filming days are long, making the minutes can be stressful, and Covid safety protocols add layers of complexity to the job. There are performers who are cast not only for what they bring to their roles, but also for the energy they bring to set. Haddish has an undeniable magnetism, so it is unsurprising to read her co-star Isaac, in The Card Counter’s production notes, describe her as being “like Jesus”, in that people would drop everything and follow her. She enjoys this comparison, revealing that she has always wanted to be an AD, the crew member with, traditionally, the greatest people skills. “I always wanted to be assistant director just so I can be like, ‘All right, picture’s up, guys.’ And just so I can know everybody and be cool with everybody.”

But as a performer with clout, what is her intention when she—Tiffany Haddish, famous actress™—walks onto a soundstage? Haddish’s answer is a generous primer on how to be a good sort on set (or, indeed, in any working environment). “When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working,” she explains. “I’m going to work with them again in something else, and I want to have a pleasant experience with the crew. The DP, the gaffers, all these people, we all work together as a unit, so I think it’s super important.”

Paul Schrader, Oscar Isaac and crew on the set of ‘The Card Counter’.

Certain crew members, she admits, “are imperative to making me look good”, but more than that, her approach is grounded in her own physical and emotional safety in an often volatile and unpredictable creative environment. “I see how some actors won’t talk to any crew members at all, and I feel like that’s not okay because these people are busting their ass to make you look great, and they are part of telling this story too. They might not be hanging off the side of the building like you are, but they are making sure that the camera’s operating correctly, so you don’t have to shoot it five hundred times.

“These people keep me alive. They keep me going and they can tell when I’m in a bad space. They’re like, ‘Here’s a Snickers.’ If I’m working with an actor who might be treating me not the best, they’re coming over, they’re giving encouraging words, ‘You’re going to be okay.’ We’re a team. I even talk to the editor. They’re like, ‘Picture’s up, sound’s rolling, and speed.’ And I’d be like [staring down the camera lens], ‘What’s up editor? Hey, it’s your girl Tiffany Haddish. Just a little note: I’m thinking about you. Now, if you could just make sure this lazy eye is this way… I know you’re in that room by yourself, but look out for your girl.” Sometimes, Haddish will even throw a bone to the studio executives. “I know they’re watching the dailies,” she laughs.

Her investment in the welfare of her film families is paying off in unexpected turns such as The Card Counter, with more to come. Up next, a trio of unusual comedies: Jerrod Carmichael’s existential buddy farce On the Count of Three, which was picked up by Annapurna out of Sundance this year; Cory Finley’s surrealistic sci-fi romp Landscape with Invisible Hand; and the intriguing Nicolas Cage vehicle, The Unbearable Weight of Massive Talent.

Related content

A list of favorite gambling movies from Gamblers, a podcast from The Big Picture’s Sean and Amanda

Life Detained: Jack Moulton’s interview with Kevin Macdonald, director of The Mauritanian

Josh’s list of Neo-Noir films

Follow Gemma on Letterboxd

‘The Card Counter’ is in US cinemas now.

#the card counter #paul schrader #tiffany haddish #cat people #oscar isaac #tye sheridan #gambling movies #neo noir #girls trip #actress #Black actress #letterboxd #gemma gracewood #morris chestnut #filmmaking tips #goodfellas

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popculturebuffet · 3 years

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Tex Avery Birthday Spectacular!

Hello all you happy people! And welcome to a celebration of the only cartoon director I knew as a kid and one of the finest whose ever lived, Mr. Tex Avery.

Avery is a legend in the animation industry and rightly so. Starting out at a few other studios, and loosing sight in one of his eyes due to some tomfoolery at one, Tex was annoyed with the restrctive enviorment and eventually found his way to Termite Terrace, the animated shorts wing of Leon Schislenger Productions, aka the future Warner Brothers Studios and the makers of Looney Tunes. And his impact on the franchise is vast, cannot be overstated and I only learned about just how much recently: The man created Daffy Duck and Bugs Bunny, created the prototype for Elmer Fudd, and created the design for Porky we’re all far more familiar with.

Eventually though while he was happy there, his career when ended when he eventually got into a squabble with Leon schsinger over the ending of “The Heckling Hare” and left soon after. Given he got a four week unpaid suspension for it , a bit extreme given all he’d given the studio, I can’t blame him. He instead went over to MGM who badly needed his wacky energy, and thus got to go as nuts as he wanted, with creative control a better budget and the result was his peak and classic characters like Red and my personal faviorite and personal boy: Droopy. I will try and do a birthday thing for him next month, we’ll see if my rather packed schedule will allow for it. Point is I watched the guys cartoons a lot as a kid between looney tunes and his shorts being repacked for the Tex Avery show in the late 90′s, and until recently I had no idea the depth and scope of his career: The guy gave looney tunes it’s standard fourth walll breaking and made it a huge part of the industry, and he was the one to hlep htem break out of being a Disney knockoff and into what we know today. The guy has my utmost respect so today I honor him as the first animator to get one of my birthday specials: As is my standard ten shorts, my patreons get to pick one each (I now have two but she start’s next month so her benefits will too) if they so choose (Kev opted out of the porky pig one next week) and I went to my friend blah for a recomendation as he’s an avid fan of the golden age of animation and thus usually has a really good choice up his sleeve. Now that’s out of hte way join me under the cut for some shenanigans as old tex would want it that way.

1. The Gold Diggers of 49 (1935)

This was Tex Avery’s first short with warner and the first of his I could find, not ot mention his first time working with Chuck Jones and Bob Clampett, who he’d mentor and go on to be the heart and soul of Looney Tunes and define the characters Tex created. And since this is more significant than his earlier work i’m coutning it as his first. And as a start it’s.. ehhhhhhh.

I don’t blame him for it though. Most don’t hit it out of hte park their first time up to bat, and frankly the deck was stacked against him. He was saddled with Beans the Cat...

No one brak no one. He was part of an attempt by warner to create a new star as part of a Little Rascals/Our Gang style group of kids debuting in the short “I Haven’t Got a Hat”. This short is notable not for Beans, who no one cares about, but for the debut of Looney Tunes first star: Porky Pig. Porky was just one of the various characters but the only one audiences really liked. It took some time for Warner to get the hint though, hence Beans starring here and Porky playing his girlfriend’s father.. and also now being much older than him for some reason.

So instead of being a Little Rascals ripoff bean is now a mickey mouse ripoff, as the short gives me mickey mouse vibes.. but without the things that made those shorts actually good and feels mostly built on studios trying to make what they think audiences will like. There’s sparks of waht Tex would become.. but just not enough wiggle room for him to make something special. Also porky looks and sounds weird in this one and Bean’s girlfriend has a REALLY annoying voice. Oh and two horrible Asian stereotypes, because it was acceptable at the time but lord was it never okay. Then again I should be at least mildly greatful none of the shorts had blackface.. because tex apparently REALLY had a problem with that, something I obviously didn’t know as a kid as they edited it out but given most of his MGM shorts have “blackface edited out of x version”, yeahhh.... I may like the guy, quite a bit and feel those gags weren’t done out of malice.. but it dosen’t make them okay, they were never okay and he should’ve done better.

2. I Love to Singa (1936) Thankfully our next entry is 800% better, as we get a classic from my childhood and probably multiple childhoods. Admittedly part of the reason this one stuck in my head is the title song, sung by a young jazz singing owl whose dad doesn’t like that he sings Jazz instead of classical, enters a contest and nearly looses singing classical to please his dad only for his dad to intervene and finally accept his son. It’s a wonderful story of acceptance with some decent gags, beautiful animation and one hell of a title track that will probably never leave my head. The song is really what makes this short and sometimes that’s okay. Also just to note so someone else doesn’t: This short was a parody of the Jazz Singer one of the first talkie’s.. and also a film that uses blackface and whose 80′s remake bafflingly also uses blackface for some reason. Yes really.

3. Tortoise Beats Hare (1941)

One of Tex’s only four Bugs Shorts.. but given 3/4 of them are certified classics, and one of them involving a horrible stereotype.. to the point it’s part of the rightfully infamous “Censored 11″ and the ONLY one involving Bugs Bunny.

So as I said, Tex has a bad history with casual racism, and while it was the style at the time and I don’t THINK he was actively malicious towards black people.. it doesn’t make some of his work any less harmful. The rest of his bugs work though is remembered for the right reasons: his first appearance, and early classic we’ll get to next.. and this standout everyone who saw it as a kid or an adult fondly remembers.

You all know the premise: Bugs finds out, in an utterly brilliant wall shattering bit at the start where he reads off the crew names and then the title, that this picture will have him beaten by a turtle and taking offense to that challenges the guy. This is honestly one of the few Bugs shorts where he’s the out and out villain of the picture. He’s doing this race purely out of ego, yells at Cecil whose perfectly nice in this one, and in general is the bully set up for a fall he’d later be famous for taking on. But it works, both because this si early in bugs career so it’s entirely in character, and because Mel just really sells the obnoxiousness while still being funny.

This short also has one of Tex’s trademark setups as this is essentially a prototypical droopy cartoon: A meek, goofy voiced protagonist whose shorter than his large obnoxious enemy and who torments him by showing up every where he’s going to be and casually doing it. Cecil even does so using an army of fellow turtles with Droopy later using a similar trick in one of his shorts. As a big Droopy fan i’m clearly not complaining and while Droopy would do it better, this short’s still a classic for a reason with tons of great bits and is a fun break from the usual bugs setup, though in full fairness the usual bugs setup is still solid gold so take that how you will.

4. The Heckling Hare (1941)

Originally I was going to have Daffy in Hollywood in this spot as I thought it was on Max, it was not, so I swapped it out with his final bugs cartoon. For the record his first, and Bugs, is being saved for Bugs birthday this summer. And honestly i’m glad I did because this was 7 mintues of pure joy that has another setup that Tex himself and other Looney Tunes animators would resuuse: Bugs being pitted up against a far dumber antagonist. One who often still fully deserves it but allows him to just have fun for several minutes at this dumb bastard’s expense. It works well here, with tons of clever gags, my faviorite being the two doing dumb faces with each other only for bugs to stop and pull out a sign as seen right above.

It’s also an approriate capper to our warner made Tex shorts for the day, as this would be the one that got him fired. He and Schisnger argued over it and he got suspended as I mentioned and I found it again a bit fucking extreme. So did Tex and after a handful of shorts elsewhere, he’d move over to MGM, whose cartoons would ironically be bought up by warner. They needed a shot in the arm to compete with Disney and Warner and Tex was happy to provide hte needle filled with nonsense. And the results.. are pure gold.

5. Dumb Hounded (1943)

I’ll admit as a kid I didn’t know Tex’s MGM shorts were theatrical, or any shorts but somehow I knew they weren’t looney tunes. Besidds obviously having hteir own show they just had their own tone and pacing and style. While the Looney Tunes aren’t bad, at all honestly, Tex’s work here was in a class by itself with MGM gladly giving him a higher budget and even more creative freedom. And the results speak for themselves and one of those results is one of if not my faviorite classic cartoon character. And since I might not be able to get to his birthday with one of these next month, though i’m certainly going to try march is just VERY VERY FULL. Anyways point is our happy hero was introduced here. And given i’m frequently depressed and often withdrawn, not that you could tell from my reviews here, I related to this depressed bulldog who always won anyway despite being an outsider, finding love, sucess and always beating a much larger, much more assholish antagonist. But Droopy is good on his own merits as his shorts are just that funny.

This was true from Day One as dumb hounded is fucking perfect: The Wolf that Avery always used in his cartoons escapes from jail and is hunted by bloodhounds including our boy, who charmingly introduces himself with “You know what, i’m the hero”. From there it’s a simple setup but a great one as Droopy finds the guy.. then chases him from here to enternity with one amazing gag after another. Simple, utterly hilarious and the dawn of a legend, with the ending having Droopy go a bit nuts after getting his reward money before returning to his usual demeanor “You know what? I’m happy” So am I bud, so am I.

6. Red Hot Riding Hood (1943)

Yup same year. Tex hit the ground sprinting. This one is his signature MGM toon and for good reason. Using his usual forth wall breaking style, both the wolf and red riding hood rebel when it opens with a typical telling, so it changes to a 40′s nightlife setting: Grandma lives in a penthouse and is man hungry, Red is a fanservicey night club act and the Wolf is a sexually harassing asshole who chases after here and has some over the top reactions to her that are iconic in some’s mind.

The short is gorgeously animated with Red’s dance sequence and Wolfie’s reactions being the highlight and the short isn’t as bad as it could be as the wolf is treated as a scumbag for hitting on her and generally being a creep. SO the first two thirds aren’t bad with nice touches like the narrator clearly improvising the new story. It’s just badly hampered by the last half where Grandma sexually harasses Wolfie and it just doesn’t work. This double standard stuff annoys me and “haha get it it’s funny when a woman stalks a man” isn’t funny. Wolfie stalking her really isn’t that funny either it’s just not you know an entire third of the film. So a classic for a reason.. but one that really has degraded with time. Still worth analyzing and what not, just not great.

7. Who Killed Who? (1943)

Yes still. It was a good year. This is another one off like Red Hot Riding Hood and as is tradition since the Tom and Jerry one, my patreons each get to pick one and Kev selected this one. And this.. was a great choice.

Seriously I could not stop laughing with a great gag a minute, WAY too many to mention, a classic ending, and just nothing but net the whole time. I don’t have much to say really.. but because this one’s just good. The whodunnit genre hasn’t really gone away, it’s cliches are welll known even today and this is a lovely parody of it that hits the ground running after a live action intro and runs right through the wall across a lake and straight into droopy “You moved.”.

The only real observation I have other than “This is fucking awesome watch it immediately” is that the villian looks exactly like the Phantom Blot. Who knew the Phantom Blot was a live action guy with a weird haircut the whole time huh? Seriously this one is a masterpiece, an instant faviorite, and I highly recommend it.

8. Screwball Squirrel (1944)

As you can probably guess by how I lead it in this one is not very good. It is tex TRYING to make a bugs or daffy type character again and somehow failing at it. He created them, he did plenty of shorts like theirs with other characters and got how the cat and mouse antics of the old theatrical shorts worked.. so I have no idea how this one happened.

I’m really not overselling it: The short is about Screwy, who hyjacks it from a cute widdle bunny clearly parodying bambi.. who he beats the shit out of, then decides to get things going asks a dumb dog to hunt him, then insults him to provoke him to attacking him. He then spends the entire short tormenting the poor dumb bastard who again HE PROVOKED. It feels like a poor imitation of dumb hounded, as while Bugs clearly outclassed the dog there, he’d die if he lost, so while he was punching down, he clearly didn’t have a choice and you can’t honestly blame him. Here, Screwy is fine, he just wants someone’s head to fuck with and spends a whole short torturing him. We don’t even get catarsis as while the dog does catch him at the end via weird gag, they end up deciding to beat up the bunny instead.

His voice is also just the worst, just utterly grating and making me wish an anvil woudl fall on HIM instead. Screwy would return for some other shorts but I have no idea why. This was easily the weakest of these ten shorts and I will probably not return to the guy next year.

9. Bad Luck Blackie (1949)

This is one i’d forgotten till I got a ways in. It’s also weirdly one of the only MGM Tex shorts on HBO Max as this was included in the Tom and Jerry collection for some reason, the dog in it clearly isn’t the tom and Jerry verison of spike... though the dog Droopy fought a lot was indeed called spike. Yes that is confusing, no I don’t know why MGM thought this was a good idea.

As a result though I have been saving giving out about this till now but seirously , put the tex avery shorts on HBO Max. Their on Blu-Ray, their on boomerang, especially Droopys. I do not get why they aren’t on here. I’m tired of them holding things out for the boomerang app when not everyone subscirbes to that. Let me have my morose dog dammit.

That giving out aside i’m glad this one caught my eye via i’ts weird name as it’s another masterpiece. It also does what one Tom and Jerry short I reviewed, the one where tom’s a millionare, earlier this month failed to: properly make it’s antagonist loathsome enough to deserve the parade of abuse he gets. With that one Tom is tourturning jerry for like 30 seconds, but Jerry torments him for most of 5 minutes.

Here we get about two minutes of our lead kitten getting torremnted by a mean bulldog. It’s not only still a bit entertaining to lessen the horror just enough to be watchable but not enough to make the bulldog likeable, but it makes what happens for the rest of the short oh so fucking satsifying. While the previous short today really didn’t get the karmic ballance neded for a good classic screwball comedy short this one overwhelmingly does.

Our kitten gets some help in the form of Blackie, a professional black cat who agrees to turn the tables, sauntring across to a wonderfully catchy tune. any time the little guy whistles. The result from there is 5-6 nonstop minutes of comedy genius, as Tex finds new and creative ways for the cat to come out of nowhere, and even shakes things up to keep it intresting towards the end iwth the dog getting the whistle.. only for it to still not work out, and for our little kitten to get his revenge at last by painting himself black after the bulldog paints blackie white. As should be obvious by now, it’s really good, showing Screwball Squirrel was the exception not the rule. In general Tex was this good during his mgm and when he was at his peak we got gems like this. Truly sensational, watch it if you have max it’s under the tom and jerry section for some reason.

10. T.V. of Tommorow A decent one I remember seeing as a kid. Not much to say though, it’s mostly a bunch of gags about “future” tv’s based on their viewer’s needs. Some good stuff.. not as good as most of what was here today but still better than the worst of it and still very memorable and part of a memorable tetralogy i’ll probably come back to when I do Tex’s birthday again next year. Not a bad note to end on though.

Overall these shorts show just how strong a creator tex was, gleefully taking convention and ripping it to tiny pieces. As i’ve mentioned many times i’ll be coming back to his work next year.. and probably be watching a hell ofa lot more in the time between. Might even do a second special on him in between birthday ones. We’ll see how this does. The Tom and Jerry one sadly wasn’t quite the hit I hoped.

Until then I have many other reviews. And since Today (This review is late) was supposed to be the 90′s tom and jerry movie but that turned out not to be on Max for some reason. I still plan to cover it some day i’ll just have to find it and buy it first. But tommorow if I have the time i’ll be continuing the Lena retrospective with an intresting little side trip. So until then, i’ts been a pleasure and you know what? Thanks for reading.

#tex avery #droopy #bugs bunny #porky pig #the gold diggers of 49 #cecil turtle #tortoise beats hare #the heckling hare #tv of tommorow #dumb hounded #red hot riding hood #who killed who #red #spike #bad luck blackie #screwy squirrel #screwball squirrel #owl jolson #I love to singa

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phantomofthepairofdice · 3 years

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Double Features 2: Splatter, Splicer, Slander, Slasher

Considering the fact that we’re locked down and most folks aren’t going out much, why not settle in on a weekend with double feature. As part of a series of articles, I’ve decided to suggest some titles that would make for an interesting pair. It’s a time commitment like binging a few episodes of a TV show, and hopefully these double features are linked in interesting enough ways that it has a similar sense of cohesion. They also can be watched on separate occasions, but the lesser the distance between them, the more the similarities show. Do it however you want, really. I’m merely a guy on the internet, and that qualifies me for absolutely nothing! Enjoy at your own risk.

This template is back! I wanted to suggest a few more double features, but this time keep them in a specific genre: horror. I love horror movies, and I realized that I hadn’t really given them their due on this here blog, so I wanted to remedy that by showing a lot of love across a lot of different movies. I’ve put together some international movies, some classics, some that are silly, some that are serious, and even a bonus suggestion hidden in one of these blurbs. So without any more ramble in the preamble, here are four new suggested double features.

Note: The pairs are listed in the order I think best serves them being seen.

Hausu & Evil Dead II:

Hausu aka House (not to be confused with 1985 American horror film of the same name) has sort of transcended cult movie status to become a staple of off-center horror-comedy. Directed by recently deceased Nobuhiko Obayashi, the film shows his roots in advertisements with every shot designed for maximum effect, a (still) cutting edge approach in the edit, and a joyous, playful approach to special effects. It’s a gauzy and dreamy romp about a group of schoolgirls who head to the countryside on vacation. While staying at one of their aunts’ house, the supernatural hauntings begin, and heads start to roll (as well as bite people on the butt). It’s the type of movie where the main cast of characters are named Gorgeous, Kung Fu, Melody, Prof, Mac, Sweet, and Fantasy and they each have corresponding character traits. I was lucky enough to catch this at a rep screening at the Museum of Fine Arts a few years ago (further proof that this has gone beyond the cult curio status), and this is absolutely a movie that benefits from having a crowd cheer and laugh along - but it’s fairly easy to find and still has lots of pleasures to be enjoyed on solo watch. I’m pretty much willing to guarantee that if you enjoy it on first watch, you’ll want to share it with others. Now, where does one start when talking about Evil Dead II? Sam Raimi is rightfully as well known for his start in the hair-brained splatter genre fare as he is for his genre-defining Spider-man films. The influence of the Evil Dead movies is nearly unquantifiable, apparent in the work of directors like Edgar Wright, Peter Jackson, Quentin Tarantino, and the Korean New Wave filmmakers like Bong Joon-ho and Park Chan-wook. There’s a reason that the second film of his Evil Dead odyssey is the one that people hold in highest esteem, though. There is an overwhelming gleeful creativity, anything goes, Looney Tunes approach to it that makes the blood geysers, laughing moose heads, and chainsaw hands extend beyond gore and shock into pleasure. It’s been noted over and over by critics and Raimi himself that the Three Stooges are probably the biggest influence on the film, and by golly, it shows. Evil Dead II and Hausu are pure in a way that few other movies can be. Both of these movies are an absolute delight of knowing camp, innovative special effects, and a general attitude of excitement from the filmmakers permeating through every frame. They’re a total blast and, in my mind, stand as the standard-bearers for horror-comedy and haunted house movies.

Total Runtime: 88 minutes + 84 minutes = 172 minutes aka 2 hours and 52 minutes

The Thing (1982) & The Fly (1986):

Feel free to roll your eyes as I explain the plots of two very famous movies. The Thing is John Carpenter’s body horror reimagining of Howard Hawks’ The Thing from Another World and the story that was adapted from, “Who Goes There?” by John W. Campbell Jr. The film is centered around a group of men in an arctic outpost who welcome in a cosmic force of shape-shifting annihilation. What ensues is a terrifically scary, nihilistic, paranoid attempt to find who isn’t who they say they are before everyone is replaced with the alien’s version of them. The film is a masterpiece of tone in no small part due to Dean Cundey’s photography and Ennio Morricone’s uncharacteristically restrained score. The real showstopper here, though, is the creature effects designed by Rob Bottin with an assist from Stan Winston – two titans of their industry. There may not be a more mind-blowing practical effects sequence in all of movies than Norris’ defibrillation – which I won’t dare spoil for anyone who hasn’t seen it. The story is so much about human nature and behaviors, that it’s good news that the cast is all top-notch – anchored by Kurt Russell, Keith David, and Wilford Brimley. While The Thing is shocking and certainly not for anyone opposed to viscera, David Cronenberg’s The Fly is the best example of a movie not to watch while eating. Quite frankly, it’s got some of the most disgusting things I’ve ever seen on film. Chris Walas and Stephen Dupuis’ makeup effects are shocking, but the terror is amplified because this builds such a strong foundation of romance in its opening stretch between Jeff Goldblum and Geena Davis in what might be their career-best work. The story is simple: a scientist creates a teleportation device that he tries out himself, but unknowingly does so with a fly in the chamber with him. When he reatomizes on the other end, his DNA has been integrated with the fly. Slowly his body begins to deteriorate, and he transforms into a human-fly hybrid. While this is first and foremost a science-fiction horror film, it’s truly one of the most potent love stories at its center. The tragedy is that the love, like the flesh, is mutated and disintegrated by the hubris of Goldblum’s Seth Brundle. Here are two remakes that – clutch your pearls – outdo the original. They both serve as great examples of what a great artist can bring by reinterpreting the source material to tell their version of that story. The critical respect for Carpenter and Cronenberg is undeniable now, but both of these movies make the case that there are real artists working with allegory and stunning craft in less respected genre fare. It doesn’t take a lot of effort to transpose the thematic weight of the then-new AIDS crisis onto both films, but they both have a hefty anti-authority streak running through them in a time where American Exceptionalism was at an all-time high. If you want to get a real roll going, fire up the ’78 Invasion of the Body Snatchers first to get a triple dose of auteur remakes that reflect the social anxieties of the time and chart from generalized anxiety to individualistic dread to romantic fatalism.

Total Runtime: 109 minutes + 96 minutes = 205 minutes aka 3 hours and 25 minutes

Theatre of Blood & The Abominable Dr. Phibes

That old Klingon proverb that Khan tells Kirk about revenge being a dish best served cold is challenged by these two Vincent Price tales of the macabre. They posit that revenge is best served in extremely convoluted and thematically appropriate predecessors to the Saw franchise. Where Saw trades in shock and extremity, though, these classic horror tales offer an air of panache and self-satisfied literacy. In Theatre of Blood, Price plays a disgraced and thought-dead stage actor who gets revenge on the critics who gave him negative reviews with Shakespeare-themed murder. There’s good fun in seeing how inventive the vengeful killings are (and in some cases how far the writers bend over backwards to explain and make sense of them). It’s a little rumpled and ragged in moments, but Price is, of course, a tremendous pleasure to see in action as he chews through the Shakespeare monologues. Imagine the Queen’s corgis with a chainsaw and you’re on track. Phibes came first and, frankly, is the better of the two. The story is about a musician who seeks to kill the doctors who he believes were responsible for his wife’s death during a botched surgery. The elaborate angle he takes here is to inflict the ten plagues from the Old Testament. I hesitate to use a word that will probably make me come across as an over-eager schmuck, but it really feels best described as phantasmagorical. It’s got this bright, art deco, pop art sensibility to it that’s intoxicating. It also has a terrifically dark sense of drollery - it knows that you can see the strings on the bat as it flies toward the camera. Aesthetically, it feels adjacent to the ’66 Batman show. The music is great and the indelible image of his tinker toy robot band, The Clockwork Wizards, is a personal obsession of mine. Both Theatre of Blood and The Abominable Dr. Phibes feature great supporting turns from Diana Rigg and Joseph Cotton, respectively. Settle in for a devilishly good time and enjoy one of cinema’s greatest vicarious pleasures: getting back at those of criticized or hurt you.

Total Runtime: 104 minutes + 94 minutes = 198 minutes aka 3 hours and 18 minutes

Blood and Black Lace & The Bird with the Crystal Plumage

The final pairing comes from beyond American borders and, to some, beyond the borders of good taste. Mario Bava and Dario Argento are likely the two biggest names in Italian horror, and that’s for very good reason. Bava, who started as a cinematographer, has made loads of movies (even the film which gave Ozzy Osbourne and crew the name their band name) that have tremendous visuals and terrific sense of mood. Argento, probably most famous now for Suspiria, emerged onto the Italian film scene a handful of years later and picked up that baton from Bava to crystallize the dreamy logic puzzles cloaked in hyper-saturated colors. These two films are regarded as quintessential in the giallo genre – named for the yellow covers of the pulp crime fictions that inspired them. As someone who loves the flair that can be applied to make a slasher film stand out amongst their formulaic brethren, I found that the giallo made for a smooth transition into international horror. Blood and Black Lace is a murder mystery that’s as tawdry and titillating as its title suggests. Set in an insular world of a fashion house in Rome, models are being murdered. The plot feels like a necessity in order to create a delivery system for the stunning set pieces that revolve around a secret diary. Bava puts sex right next to violence and cranks up the saturation to create something thrillingly lurid. Six years later, Argento made his first film which has often been credited for popularizing the giallo genre and already is playing around with some of his pet themes like voyeurism and reinterpretation. Built around an early set piece (that stacks up as one of the best in thrillers) in which a man is trapped but witnesses a murder, the film sees said man trying to find the piece of evidence that will make the traumatic killing make sense. Like Bava, it blends sex and violence with tons of flair, including a score by the aforementioned Ennio Morricone. The film is absolutely on a continuum between Hitchcock and De Palma. If you’re looking for a pair of exciting horror/thrillers, or even an entry point to foreign genre cinema, this is an accessible and enjoyable place to start.

88 minutes + 96 minutes = 184 minutes aka 3 hours and 4 minutes

Well, there you have it. Eight movies, and hours of entertainment curated by some guy with no real qualifications. If you’re interested in some more suggestions (in horror and other genres), stay tuned for the next entry in this Double Features series. And if you’re looking for a way to watch these movies, I highly recommend the app/website JustWatch where you can search a title and see where it’s available for streaming or rental. Happy viewing.

Thanks for reading.

#evil dead #evil dead 2 #hausu #hausu 1977 #the thing #the fly #theatre of blood #dr phibes #blood and black lace #bird with the crystal plumage #double feature

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howaminotinthestrokesyet · 3 years

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Behind The Album: OK Computer

The third studio album from Radiohead was released in May 1997 by Parlophone Records. This would mark the first album that Nigel Godrich worked on as their producer. The band would self produce the entire album themselves, which they have done on every record since. In 1995, Brian Eno asked the band to contribute a song to a charity compilation for War Child entitled Help. They were scheduled to do the recording in only a day, which led to the track, “Lucky.” Godrich would say of the recording. “Those things are the most inspiring, when you do stuff really fast and there's nothing to lose. We left feeling fairly euphoric. So after establishing a bit of a rapport work-wise, I was sort of hoping I would be involved with the next album." This track would form the foundation of what would become OK Computer. In early 1996, the group took a break from touring because they found it a bit too stressful. Thoughts now turned to a new record with the mindset of distancing themselves from anything similar to The Bends. Drummer Phillip Selway would say, “There was an awful lot of soul-searching [on The Bends]. To do that again on another album would be excruciatingly boring.” The label gave the band a rather good sized budget for recording equipment for the new release. A number of producers were considered for the album, but they kept coming back to Godrich as an advisor on equipment. Eventually, the band hired him as the producer. Ed O’Brien said of the album, “Everyone said, 'You'll sell six or seven million if you bring out The Bends Pt 2,' and we're like, 'We'll kick against that and do the opposite'."

In early 1996, Radiohead began proper recording of the LP at Canned Applause Studios in Oxfordshire, England. Issues immediately came up as the band had difficulty staying focused on one song all the way to completion. Selway would talk about this later, “We're jumping from song to song, and when we started to run out of ideas, we'd move on to a new song ... The stupid thing was that we were nearly finished when we'd move on, because so much work had gone into them." Although the members of the group were considered equals, the voice of Thom Yorke always represented the loudest one in terms of musical direction. Godrich would talk about his role within the group in an interview. They “need to have another person outside their unit, especially when they're all playing together, to say when the take goes well ... I take up slack when people aren't taking responsibility—the term producing a record means taking responsibility for the record ... It's my job to ensure that they get the ideas across." His permanent role on each Radiohead album would lead to the producer being called the sixth member of Radiohead. After only recording four songs, the band left the Canned Applause Studio for a variety of reasons Including the fact that the studio had no bathrooms or dining rooms. They decided to take a break from recording in order to support Alanis Morissette on tour, which gave them a chance to try some of their new tracks live. Around the same time, Director Baz Luhrmann asked the band to contribute a song to his film, Romeo and Juliet. “Exit Music for a Film” would be played as the credits rolled during the movie, but they did not give Luhrmann permission to place the track on the movie soundtrack. Yorke would later observe that this song became very important to the album. It “was the first performance we'd ever recorded where every note of it made my head spin—something I was proud of, something I could turn up really, really loud and not wince at any moment."

In September 1996, the band began recording again at a mansion in Bath, England owned by actress Jane Seymour. Jonny Greenwood would say the environment represented a much more pleasant change for the group. It “was less like a laboratory experiment, which is what being in a studio is usually like, and more about a group of people making their first record together." One quality that the band enjoyed during the sessions came in the fact that they took full advantage of the natural environment of the mansion. “Exit Music for a Film” utilized some natural reverb courtesy of a stone stairwell. They recorded Let Down” in an empty ballroom at 3 o’clock in the morning. The group worked at its own pace as Ed O’Brien observed later. “The biggest pressure was actually completing [the recording]. We weren't given any deadlines and we had complete freedom to do what we wanted. We were delaying it because we were a bit frightened of actually finishing stuff." A majority of the album would be recorded live with no overdubs because Yorke hated them. The band completed the rest of the album at the studio in Saint Catherine’s towards the end of 1996. In January 1997, the strings for the album were recorded, then they spent the next two months mastering and mixing the album. Actually, the mixing of the album only took a couple of days. Nigel Godrich would later comment, “I feel like I get too into it. I start fiddling with things and I fuck it up ... I generally take about half a day to do a mix. If it's any longer than that, you lose it. The hardest thing is trying to stay fresh, to stay objective."

Several artists would influence what would become the finished product of OK Computer. First and foremost came the 1970 album Bitches Brew by jazz great, Miles Davis. Thom Yorke would tell Q what he saw in that recording that made up his vision for this album. “It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer." Other artists that helped to inspire the record included Elvis Costello, REM, PJ Harvey, the Beatles, Can, and composer Ennio Morricone. Jonny Greenwood would describe OK Computer as an attempt to recreate the sound on all these great records, but they missed the mark. The band would expand their instrumentation for this album to include electric piano, Mellotron, cello and other strings, glockenspiel and electronic effects. Spin would say this about the release, “A DIY electronica album made with guitars." The lyrics to the album focused on themes much more conceptual when contrasted with The Bends. Yorke would sing about a wide variety of topics including transportation, technology, insanity, death, globalism, capitalism, and more. The singer would say, “On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He also took inspiration for some of the lyrics from a selection of books including Noam Chomsky, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS. Despite the abstract nature of the lyrics on the record, many critics have looked upon OK Computer as a concept album. They argue that there exists a singular theme running throughout the record, but the band has consistently denied any attempt at making such a release. Jonny Greenwood commented, “I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." They did pay particularly close attention to the order of the tracklist taking almost two weeks to complete it.

The album opens with “Airbag,” which highlights the drumming of Phillip Selway. The track had been inspired by the work of DJ Shadow. The band would later admit that they represented novices in this attempt to base a song on DJ Shadow due to their lack of time with programming. Yorke had actually read an article in a magazine entitled “An Airbag Saved My Life.” Another book that helped to create the basis for the song lyrics emerged in the Tibetan Book of the Dead. Yorke had always been obsessed with the idea that any time you get into a car you could possibly die at any second. The second track “Paranoid Android” stands out as one of the longest tracks in the band's entire catalog. Two songs inspired it from classic rock, “Happiness Is a Warm Gun” by the Beatles and “Bohemian Rhapsody” by Queen. The lyrics are meant to reference the alien from Douglas Adams’s A Hitchhiker’s Guide to the Galaxy. Yorke got the idea after watching a woman lose her mind after a drink spilled on her at a bar in Los Angeles. “Subterranean Homesick Alien” referenced “Subterranean Homesick Blues” by Bob Dylan. The lyrics are meant to refer a person who is abducted by aliens, then returns home to realize his life is in no way any different. The beginnings of the theme for this track actually began for the singer in private school when he had an assignment to recreate a British literary movement called Martian poetry. Romeo and Juliet by William Shakespeare inspired the lyrics to “Exit Music for a Film.” This should come as no surprise as the band had specifically created the song for a remake film. Yorke would use it as a chance to simply recap the entire narrative in the song because Zeffirelli’s version of the film greatly affected him at the age of 13. “I cried my eyes out, because I couldn't understand why, the morning after they shagged, they didn't just run away. It's a song for two people who should run away before all the bad stuff starts.” The singer had tried to replicate Johnny Cash’s Live at Folsom Prison as he sang along to his acoustic guitar. “Let Down” represented an attempt by the band to recreate the sound made famous by Phil Spector and his wall of sound. Yorke would later comment that the lyrics are “about that feeling that you get when you're in transit but you're not in control of it—you just go past thousands of places and thousands of people and you're completely removed from it.” The singer would look upon such lyrics as perfect symbolism for Generation X, which had strongly influenced the direction of it. “Karma Police” contains two major sections that alternate between piano and guitar, which originally came from “Sexy Sadie” by the Beatles. The title of the song was an inside joke between the band during the previous tour. If something bad happened to someone, they would say that the karma police were going to get them. The short Interlude “Fitter, Happier” became something that the Radiohead frontman wrote in 10 minutes while on a break. The voice came from the Macintosh Simpletext software application. He would later describe the words as a “checklist for slogans from the 1990s.”

“Electioneering” turned out to be one of the band’s heaviest rock oriented songs probably ever with lyrics that were inspired by the Poll Tax Riots. Another source of inspiration came in the book Manufacturing Consent by Noah Chomsky. “Climbing Up the Walls” has been described by Melody Maker as “monumental chaos.” The track was arranged by Johnny Greenwood for 16 instruments based on composer Krzysztof Penderecki's “Threnody to the Victims of Hiroshima.” No Surprises” would be initially inspired by “Wouldn’t It Be Nice” by the Beach Boys, but they really wanted to replicate the mood of “What a Wonderful World” by Louis Armstrong or the soul music of Marvin Gaye. Yorke would say the song’s narrator is “someone who's trying hard to keep it together but can't.” The track that started it all “Lucky” was actually inspired by the Bosnian War. Yorke wanted to illustrate the actual terror of that conflict on the charity album, Help. Another theme that he drew upon emerged in his own anxiety about transportation. Critics have likened the guitar on the song to 1970’s Pink Floyd. The final track on the album “The Tourist” was specifically arranged by Jonny Greenwood to create a bit of space on the LP. The lyrics originated from Yorke witnessing tourists in France trying to see as many sites as possible. The title of the album came from the 1978 radio series based on The Hitchhiker’s Guide to the Galaxy when character Zaphod Beeblebrox says, “Okay, computer, I want full manual control now." They had first heard the line while listening to the series on the bus for their tour in 1996. Yorke would say this about the title later. It “refers to embracing the future, it refers to being terrified of the future, of our future, of everyone else's. It's to do with standing in a room where all these appliances are going off and all these machines and computers and so on ... and the sound it makes." The artwork would be created by both Yorke and Stanley Donwood using a computer. The Radiohead singer would observe this about the art, “It's quite sad, and quite funny as well. All the artwork and so on ... It was all the things that I hadn't said in the songs."

Leading up to the release of the album, the band got very little support from Capitol Records because they did not have too much faith in the commercial potential of it. Much of the pessimism came in the fact that the record did not have any singles to put on the radio. Ed O’Brien would call it the “lack of a Van Halen factor.” The singles that were released from OK Computer included “Paranoid Android,” “Karma Police,” and “Lucky.” All of the singles charted in the top 10 in the UK, while they also did very well making the top 20 on the US charts. Their official website was created in order to promote the record, as well as some non-traditional promotional techniques by the record label. One such idea came in their decision to take out full-page ads in popular British newspapers and magazines with only the lyrics to “Fitter, Happier.” Another promotion sent out floppy disks to people in the press, which included many Radiohead screensavers. Upon its official release, OK Computer would debut at number one on the UK charts, while in the US the record made it to number 21. Please note that this was the highest American debut for the band. By September 2000, the release had sold 4.5 million copies worldwide.

Critics loved the album across the board. Writer Tim Footman would comment, “Not since 1967, with the release of Sgt. Pepper's Lonely Hearts Club Band, had so many major critics agreed immediately, not only on an album's merits, but on its long-term significance, and its ability to encapsulate a particular point in history." Many critics saw it as a very important album. Mojo wrote in their review, “Others may end up selling more, but in 20 years' time I'm betting OK Computer will be seen as the key record of 1997, the one to take rock forward instead of artfully revamping images and song-structures from an earlier era.” The New Yorker would congratulate the band on taking many more risks artistically then their contemporaries like Oasis. “Throughout the album, contrasts of mood and style are extreme ... This band has pulled off one of the great art-pop balancing acts in the history of rock." Most of the reviews that were slightly mixed seemed to focus on the fact that when compared with The Bends, this record did not contain as many catchy songs. The release would go on to win the Grammy for Best Alternative Album, but did not win Album of the Year. The praise for the album seemed to inundate the band a little too much. Also, Radiohead did not agree with the universal assessment that they had made the greatest progressive or art rock record since Dark Side of the Moon. Thom Yorke would say, “We write pop songs ... there was no intention of it being 'art'. It's a reflection of all the disparate things we were listening to when we recorded it."

The legacy of the album came to be represented in a variety of ways. First, the release of OK Computer coincided with the election of Tony Blair. Some writers have pointed to the pessimism on the record as a sign of things to come. Stephen Hayden would write, “Radiohead appeared to be ahead of the curve, forecasting the paranoia, media-driven insanity, and omnipresent sense of impending doom that's subsequently come to characterise everyday life in the 21st century." Second, the arrival of this album directly coincided with the decline of Britpop. The Oasis album Be Here Now did not attain the commercial or critical success that What’s the Story Morning Glory had received in 1995. Third, OK Computer directly influenced a new generation of artists including bands like Bloc Party and TV on the Radio. The album has landed on many lists over the subsequent years as one of the best releases of the decade and all time. Yet, not all retrospective reviews have been kind to OK Computer as it has also landed on some lists as one of the most overrated records of all time. A New Musical Express column criticized the release as the exact point when Radiohead stopped being good, but instead started to become important.

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adrianodiprato · 3 years

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+ “Whose voice is missing and how is that impacting our understanding of the world?” ~ Pernille Ripp, Series Two | Game Changers guest

Game Changers | Series Six Reflection

For Series Six, we turned our attention to A New Story: human-centred, technology enriched, people and place conscious and intentionally purposeful as we attempted to unpack the provocation So, what’s hope got to do with it?

In Series Six of the Game Changers Podcast, we once again had ten remarkable educators and entrepreneurs – a Learning Director, an Australian Educator of the Year, a global thought leader, a highly accomplished Equity Expert, the Executive Director of Catholic Education (Parramatta Diocese), the Head of Education (ABC), a Film Producer, a Teen neurodiversity champion, a global Research Officer and a Top 10 Finalist in 2020 Global Teacher Prize. Each challenged our binary thinking and inspired us with this new hope – all Game Changers who continue to light the torch for us and show us the way to build schools (and even society) differently.

Each Series Six Game Changers guest reminded us that all revolutionary ideas begin with a far-fetched dream, grown from the hope for a better world someday, somewhere. And that we were remined that the fierce urgency of now relates to the imperative that we connect our purpose to the needs of our COVID Children and all those that follow. That we now need a new story, a new social contract, a new hope - one that reimagines schooling and all of society - one that is deeply human-centred and highly inclusive, technology enriched, people, place, and planet conscious, and intentionally purposeful. And one that is daringly hope-filled.

Today, we should make this type of learning ecosystem our difference. Our audacious hope-filled aspiration. Our own great adventure. The great adventure of truly becoming – for self, place and the other.

Episode One | Tim Barrett

We started Series Six with Australian educator and leader Tim Barrett.

Key learnings – Tim’s educational philosophy and leadership as a Director of Learning highlighted the need to foster character dispositions of adaptive expertise, emotional competency, and self-efficacy via a dynamic experiential learning framework in today’s schooling, with each helping us to pay attention to the needs of yesterday, today, and tomorrow, in serving our people and place through enacting our purpose in our intentional practice. Our chat also emphasised the value of social justice learning and immersion opportunities in our learning communities, positioning the aspiration of an active responsible citizen. All in the wheelhouse of remaining forever hope-filled, that society sees and values all, through the lens of humanity first.

Episode Two | Eleni Kyritsis

Key learnings – Our conversation with the dynamic award-winning Australian educator Eleni, brought into sharp focus the value of learner agency and self-determination in school communities. She provided us with practical expressions of creative and critical thinking, via how design thinking protocols can lead to greater student autonomy and independence, better preparing them for the reality of a world in constant flux. That good design can be a source of empowerment, a way of delivering value to everyone. And how excellent STEM programs are fundamentally about adopting a futures thinking paradigm, creating a generation of hope-filled solution architects and continuous learners and unlearners.

Episode Three | David Price

Key learnings – David reminded us about the urgency of now and why it is imperative that we seize this moment to re-imagine education and schooling for today and tomorrow. Our conversation with David amplified the Otto Scharmer quote I shared in the Series Six | Prologue, “Our society must move from ego-system to eco-system economics. This requires that we shift from ego-system silos to eco-system awareness that considers others and includes the whole.” David invited us into this ecosystem space and intentional tuning-in journey. Representing our capacity to imagine the world with fresh eyes and to suspend the legacy of old habits of thought and practice. It is deeply hope-filled, as it requires us to begin to act with care and empathy, not just for ourselves, but our planet and every living “other”. Calling all school leaders into the space of future builders.

Episode Four | Aiko Bethea

Key learnings – This conversation was an insightful example of why we should always be asking Pernille Ripp’s powerful question “Whose voice is missing…?” When we started to explore the notion of belonging Aiko challenged our thinking. The best way I can explain this is via a line in the book “You Are Your Best Thing” edited by Tarana Burke and Dr. Brené Brown, where Aiko is a contributing author, she says, “You walk into every room at a deficit. Unacceptable. Unaccepted.” Profoundly powerful insight. And she also said this in our episode and in the chapter from the book I just quoted, Aiko invited us into the profound space of creating new prevailing narratives, that amplify self through the notion of “I’m speaking” and why we need to accept all before us, on their own terms stating, “Even if this white supremist society never agrees to see us on our own terms, we’re creating our own spaces. Pulling up a chair to a table setting of white supremacy? No thanks.” I remain hope-filled because of good people like Aiko.

Episode Five | Gregory Whitby AM

Key learnings – Greg is an important figure in education. Not just because he leads an entire system of schools across the Parramatta Diocese, NSW, but because he is a cathedral thinker. Inspired by authenticity and faith, Greg has the reflectiveness, sensitivity, and strength to manage complexity by honouring the legacy of yesterday, attending to the needs of today, and looking forward to what tomorrow will require of us. School leaders prepared to incorporate a cathedral thinking mindset can spark new life in education, provoking a shift from a focus on the status quo of what’s comfortable and familiar, to a long-term shared creative value proposition that truly realises education systems that promotes excellence and equity of opportunity for all – including for those not yet born. It’s all part of taking the big step forward and up into the new social contract of education that connects our purpose with our practice through a greater understanding of our people and our place.

Episode Six | Annabel Astbury

Key learnings – I kept asking myself this question during our conversation with Annabel, Head of Education at the ABC, When will the Australian education system realise the importance of digital literacy in today’s schooling? Digital literacy is the doorway to other literacies, that we must wrap our heads around, to ensure that technology serves all our best interests. As we step through that door, we can develop deeper understanding of Algorithmic literacy, Data literacy, Political and economic literacy, and, as Annabel rightfully points out, Media literacy. Annabel highlighted to us that literacy, in its traditional definition, isn’t just the ability to read or write – it’s about the capacity to reflect, analyse and create. It’s about taking a book, a newspaper or magazine article, a fictional story or a media article and reflecting on what’s behind it, who wrote it, what their assumptions were, what world they were a part of and what other information there might be on a similar subject.

Episode Seven | Ted Dintersmith

Key learnings – Ted Dintersmith is a highly successful venture capitalist and father of two who is devoting most of his time, energy, and millions of his personal fortune to education-related initiatives that call for a radical remaking of what and how students learn in today’s schooling and education systems. So much of Ted’s work has remined us that most teachers are motivated by a passion to transform the lives of the children and young people in their care. And how do we allow students and teachers the permission, space, and trust to define their own approach to learning. A narrative consistent with the work of a School for tomorrow and the mission of Game Changers.

Episode Eight | Shadia Hancock

Key learnings – In this episode Phil referenced the famous E. E. Cummings quote, “The hardest challenge is to be yourself in a world where everyone is trying to make you be somebody else.” Our chat with Shadia amplified the notion to be nobody but yourself in a world, is all that truly matters. And that we, in schools, should imagine a school developing from the inside out, that was the aggregate of the many lived experiences and personalised journeys of each individual, rather than the imposition of an ill-fitting average of everybody else, that often comes with the standardised education, that far too many have become accustomed. Shadia showed us the feeling of empowerment through the running toward, not away, from our uniqueness, our different minds and our inherent worth. And that all of us are part of a neuro diverse community, with each bringing something different to the table. Truly Inspiring.

Special Series | Santiago Rincon-Gallardo & Hà Ánh Phượng

Key learnings – Both Santiago and Ha Anh reminded me of Proverbs 11:25 “A generous person will proposer; whoever refreshes others will be refreshed.” Santiago and Ha Anh shared with us the importance of being authentically seen by creating safe spaces for all learners to enter – to learn, to lead, to live and to work, from a fully flourishing personalised context. Two remarkable globally recognised educators, both deeply passionate and generous about young people, who continue to find opportunities to help others, particularly their students, to understand the place within and outside of themselves, to shine in this new world environment.

From each of our Series Six Game Changers guests, we learnt the significance of learning communities that deeply tune in to the importance of psychological safety. Each of our guests reminded me to encourage teachers and school leaders to consider Timothy R. Clark’s four stages of Psychological Safety in which you feel:

Inclusion safety - a deep sense of belonging,

Learner safety - safe to learn and take risks,

Contributor safety - safe to use learner agency, voice & contribute, and

Challenger safety - safe to challenge norms & conventions — all without the fear of being embarrassed, marginalised, or even punished in some way.

This authentic and intentional connectedness of people to place and planet, linking our purpose to our practice, where all are seen and valued, was most pronounced with our Series Six guests, each left be feeling deeply hope-filled.

Thank you to Tim, Eleni, David, Aiko, Gregory, Annabel, Ted, Shadia, Santiago and Ha Anh for sharing your story and passion. And thank for reminding us all that each person in our learning communities is home to a life. It is as simple and complex as that. Born from the construct of love – of self, for place and the other.

Listen to our Series Six: Epilogue via streaming platforms - SoundCloud, Apple Podcasts, Spotify, and Google Play.

#permissionistriumph #game changers #courageovercomfort #a school for tomorrow

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The Umbrella Academy Season 2 Complete Easter Egg and Reference Guide

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The following contains spoilers for The Umbrella Academy season 2.

The Umbrella Academy wears its influences on its sleeve. Gerard Way and Gabriel Bá’s original comic and the Netflix series it was adapted into pay a great debt to properties like X-Men, Doom Patrol, and even The Royal Tenenbaums.

Now for its second season, The Umbrella Academy is even more devoted to Easter eggs, references, and many other real life and pop culture homages. This batch of episodes takes the Hargreeves family back to the early ‘60s where they encounter a whole new host of inspirations.

“There are tons,” showrunner Steve Blackman says of season 2 Easter eggs. “We specifically wanted to sit down and say, ‘Here are the Easter eggs we want to put in, let’s make a list of them.’ They’re everywhere. I think the fans will get a real kick once you start realizing what we’ve put in.”

Follow along with us as we catalogue every possible Easter egg and reference in The Umbrella Academy season 2. Hopefully we can clarify a thing or two about this season along the way. And hopefully you, dear reader, can help point out what we surely missed.

The Umbrella Academy Season 2 Episode 1: Right Back Where We Started

This episode takes its name from Maxine Nightingale’s “Right Back Where We Started From.” And indeed that song plays as the Hargreeves family arrives in the ‘60s and tries to acclimate to their surroundings.

The season opens with the lunar-induced apocalypse that kills billions of people on Earth. The world’s destruction was essentially confirmed at the end of The Umbrella Academy season 1 but is re-confirmed here. In the original comic book, the planet is destroyed midway through volume 2 “Dallas” when Hazel and Cha-Cha detonate a nuke they stole from Reginald Hargreeves’s stash. Thankfully in this season, just as in “Dallas,” The Umbrella Academy makes it safely back in time and gets a chance to undo things.

For organizational purposes here is where each member of The Umbrella Academy lands in the early 1960s, along with what movie is playing on the local cinema’s marquee:

February 11, 1960 – Klaus and Ben – The movie is Curse of the Undead.

1961 – Allison – The movie is The Curse of the Werewolf.

1962 – Luther – Movie not visible.

September 1, 1963 – Diego – Movie not visible.

October 12, 1963 – Vanya – The movie is Kiss of the Vampire.

November 25, 1963 – Five – Movie is still Kiss of the Vampire.

The song playing during this latest apocalypse is Frank Sinatra’s “My Way.”

This thrilling series finale-esque apocalypse sequence also provides viewers with a decent reminder of what each Umbrella siblings’ power is:

Vanya uses sound to generate enormous, explosive power.

Klaus can communicate with the dead and in this instance is even able to summon the ghosts of U.S. soldiers to do battle against the Soviets.

Luther is super strong. And surprisingly flame retardant.

Ben (still dead) is able to produce monstrous tentacles from his stomach. In the comic series it is explained that he summons monsters from another dimension.

Allison quite literally possesses the power of suggestion. Her phrase “I heard a rumor” bewitches whoever hears it to do what she says.

Diego is super accurate with knives and seemingly takes his combat training more seriously than anyone in the Academy. In the comics, Diego is able to survive without breathing but for the second season in the row that appears to have not made it to the TV show. “You got Jason Momoa doing that a hundred times better anyway,” David Castañeda told Den of Geek during a set visit.

Number Five can travel through time but obviously rather imprecisely. He uses that power on a smaller scale to pop through space-time during fist fights.

Hazel makes his triumphant and brief return to the series…looking somewhere between Nick Offerman and Gandalf. He likes to call Five “old-timer” because despite having his childhood body, Five is actually in his late ‘50s.

This time around, the world will end on November 25, 1963 – notably three days after the assassination of President John F. Kennedy in Dallas.

Diego trots out a Star Wars joke about Luke Skywalker’s daddy issues that obviously no one in the asylum is able to understand, with Star Wars 14 years away from release.

Diego’s friend at the hospital is new character Lila, played by Ritu Arya. Lila has no comparable character in the comic series and is purely a show invention. Arya is best known for her work in Humans and Last Christmas.

Klaus and Ben were in San Francisco for three years before heading back to Dallas. In that time, Klaus started a cult. California was a hotspot for cults in the late ‘60s and early ‘70s. Klaus was a little ahead of the game.

Allison is preparing to participate in a sit-in with her Black peers. As early as the ‘40s but chiefly during the ‘50s and early ‘60s, sit-ins were tactics used by Civil Rights organizers in which protesters would occupy an area and refuse to move. Some of the most famous sit-ins involved Black Americans sitting at lunch counters or tables in all-white restaurants and requesting service. As Dan Fienberg points out in his season 2 review, Civil Rights organizers had largely ceased this practice by 1963.

The song playing during Diego’s time in isolation is a cover of Gnarls Barkley’s “Crazy” by Daniela Andrade.

The song playing as Diego and Lila escape is “Comin’ Home Baby” by Mel Tormé.

Luther is working for Jack Ruby – an unlikely important figure in American history. Ruby was a well-known nightclub owner in Dallas who was tied to mob activities such as illegal gambling, drugs, and prostitution. On November 24, 1963 (one day before the world “ends”), Ruby approached JFK’s killer Lee Harvey Oswald as police were escorting him from prison to court and fatally shot him at close range.

The Umbrella Academy Season 2 Episode 2: The Frankel Footage

The title of this episode is clearly a take on “The Zapruder Film.” The Zapruder Film is footage of the JFK assassination recorded by Texas clothing manufacturer Abraham Zapruder. It is believed to be the most complete visual documentation of the JFK assassination and was used by the Warren Commission that investigated the asssassination. It’s also become fodder for conspiracy theories.

In the reality of The Umbrella Academy, The Frankel Footage is what Hazel slipped into Five’s pocket before he died. It documents JFK’s motorcade from the perspective of Dan and Ethel Frankel on Dealey Plaza. The Frankel Footage uncovers none other than Reginald Hargreeves holding an umbrella on the grassy knoll.

Interestingly, “The Umbrella Man” is a real figure in the complicated lore of the JFK assassination. A figure holding a black umbrella appears in the Zapruder film and at one point spins his umbrella as the President’s motorcade passes by. This led to theories that, among other things, the umbrella man was a CIA plant who signaled to Lee Harvey Oswald via his umbrella to fire the fatal shots. In reality, the Umbrella Man was discovered to be Louie Steven Witt in 1978. Witt said he brought the umbrella to the motorcade to heckle Kennedy. Kennedy’s father Joe had been a fan of Nazi-appeasing British Prime Minister Neville Chamberlain. A black umbrella was Chamberlain’s trademark accessory.

The Handler lives! A bullet to the head doesn’t do as much damage as one would think on The Umbrella Academy. “Bibbidi-Bobbidi-Boo” from Cinderella plays as The Handler is spared from the incinerator.

The Handler’s boss at the Commission is a goldfish in a tank atop an otherwise human body. His name is “A.J.” and later on it’s revealed his last name is “Carmichael.” This comes directly from The Umbrella Academy comic where the head of the “Temps Aeternalis” is revealed to be a shubunkin goldfish named Carmichael.

“Well it finally happened – that gorilla DNA took over your mind,” Five tells Luther. This quick aside confirms that Reginald utilized gorilla DNA to save Luther’s life after a mission gone wrong.

“Who’s Diego?” Elliot (Kevin Rankin) asks Five. “Imagine Batman and then aim lower,” Five responds.

When Klaus meets one of his old followers in a holding cell and the follower asks for words of wisdom, Klaus replies with “Don’t go chasing waterfalls. Stick to the rivers and the lakes that you’re used to.” This is a lyric from TLC’s 1995 song “Waterfalls.”

All the “Children of the Prophet” have “Hello” and “Goodbye” tattooed or scribbled on either palm. This is in reference to Klaus’s tattoos of the same nature. In the comics, Klaus’s callsign is “The Seance” and those tattoos mimic the setup of most Ouija boards.

Reginald Hargreeves owns D.S. Umbrella in Dallas. We see him open this business in the enigmatic opener of The Umbrella Academy season 1’s final episode. That episode also seemed to suggest that he’s an alien.

Baby Pogo makes his first appearance! Pogo is a chimpanzee with the intelligence of a human. He was Hargreeves’s steadfast friend and probably the only positive influence in the young Hargreeves children’s lives. He was killed by Vanya in season 1.

Five finds an invitation to Hargreeves from the Consulate of Mexico and one Mr. Hoyt Hillenkoetter. Roscoe Henry Hillenkoetter was the first director of the CIA in real life.

The song playing as Diego fights his father is “I’m a Man” by Spencer Davis Group.

The Umbrella Academy Season 2 Episode 3: The Swedish Job

“The Swedish Job” is likely a reference to the classic ‘60s action film (and its 2003 remake) The Italian Job.

Let’s talk about The Swedes a little more. The Swedes are not present in the Umbrella Academy comic book. They fill a similar role to what Hazel and Cha-Cha do in the second volume of the comic as agents of The Commission (or Temps Aeternalis in the book). But with the show having burned Hazel and Cha-Cha on season 1, it likely needed a replacement here. Most assassins in the Commission are colorful characters so The Swede’s pale weirdness makes enough sense.

“Sunny” by Boney M. plays over the opening montage of Klaus’s time as a cult leader.

Five is tracking soundwaves at Morty’s as that’s a surefire way to find Vanya.

The man holding a “The End is Nigh” sign is certainly an homage to Watchmen. Watchmen was influential for Umbrella Academy writer Gerard Way…and just about everyone else.

The Handler’s outfit as she intimidates a child at a pet shop closely resembles ‘60s fashion popularized by Jackie Onassis Kennedy – fitting given this season’s focus.

Five’s coffee obsession continues apace in this episode.

Klaus meets Dave, the love of his life, at Glenoak’s Hardware. Klaus had previously traveled to the 1960s in season 1 where he joined the Vietnam war effort and fell in love with fellow soldier Dave. Dave obviously has no recollection of it as it hasn’t happened for him yet. Or maybe it never will…time travel is weird.

The song playing at episode’s end is “Golden Brown” by The Stranglers.

The Umbrella Academy Season 2 Episode 4: The Majestic 12

“The Majestic 12” is a real organization…or purported to be real by conspiracy theorists. It’s said that The Majestic 12 was created by Harry S. Truman in 1947 and made up of scientists, military leaders, and government officials to investigate alien spacecraft. Elliot describes the Majestic 12 as a “shadow government.” Of course Reginald Hargreeves would be a part of it.

The Handler recovered young Lila in London, England in 1993. She appears to be about four years old at that time. If so, that would put her birth year at a very significant…1989.

The music budget this season continues to be insane. The song playing as Klaus falls back into alcoholism and addiction is Styx’s “Renegade.” Obviously.

Luther is enjoying some Texas barbecue when he encounters Allison again. This leads to two relevant points.

Texas barbecue is the best in the country.

With Luther’s increased appreciation for food, The Umbrella Academy season 2 is paying slight homage to the comic’s “Fat Luther” storyline. Following the events of the first comic volume, Luther becomes complacent, depressed, and ultimately, obese. “There’s certainly a nod to that in this season,” Tom Hopper told Den of Geek. “There was a question mark over the fact that Thor did the whole thing already (in Avengers: Endgame.”

Diego meets his mother at the swanky Dallas party. When Diego and his siblings knew “Grace,” she was merely a robot created by Reginald. Here she is a living, breathing woman who knows her date by “Reggie.”

Harlan has a sparrow toy. Make note of this as sparrow imagery pops up a few times this season. Birds are all over The Handler’s clothing choices for instance. That ends up being tremendously relevant to the conclusion of season 2.

Sissy and Vanya share a kiss and then more. Vanya is the second confirmed LGBTQ Umbrella Academy member. “Having that be such a big part of the show and Vanya’s life is exciting for me,” Ellen Page told Den of Geek.

Luther just flat out loves drugs now. After his LSD trip in season 1, he follows that up with nitrous this season. That leads to this hilarious exchange with Elliot:

“My dad died too. He left me on the moon.” *howling, uncontrollable laughter*

The song at episode’s end is “I Was Made For Lovin’ You” by KISS.

The Umbrella Academy Season 2 Episode 5: Valhalla

The episode’s title is named after “Valhalla,” a majestic hall ruled over by Odin in Asgard in Norse mythology.

Poor Pogo was a space monkey. The United States, U.S.S.R., and France launched dozens of primates into space from 1948 through 1996 (!!!) to test space flight’s effects on humanity’s close cousins. When Pogo’s space flight went poorly, Reginald appears to have resurrected him with a similar serum to which he gave Luther. Is it possible that Luther got gorilla DNA and Pogo got human DNA?

Luther took a bus trip to see his father in the ‘60s. And the map that displays Luther’s trip offers up an interesting clue as to the whereabouts of The Umbrella Academy. The Umbrella Academy is filmed in Toronto though it’s never mentioned what city Toronto is standing in for in the show. In the comics it’s known as only “The City.” Here, Luther’s bus ride seems to end around Indianapolis of all places. It seems as though The Umbrella Academy is in the Midwest.

Ambrosia was a gelatinous fruit salad popular in the ‘60s. It was and is an affront to humanity.

The team’s breakdown of the many ways they could have destroyed the timeline is amusing to say the least:

“Diego has been stalking Lee Harvey Oswald.” – Luther

“You’ve been working for Jack Ruby!” – Diego

“Allison has been very involved in local politics.” – Klaus

“Ok, you started a cult.” – Allison

“I’m just a nanny on a farm. I don’t have anything to do with all of that.” – Vanya

“Face it. The only healthy relationship in this family is when Five was banging that mannequin,” Klaus says. This is a reference to Five’s mannequin lover, Dolores, from his time alone in the post-apocalypse future.

Klaus, Allison, and Vanya dance to Sam Cooke’s “Twistin’ the Night Away.”

The song playing as Five and Lila fight is a ska cover of Billie Eilish’s “Bad Guy” by The Interrupters.

The song playing as the two surviving Swedes consign their fallen brother to Valhalla is a cover of Adele’s “Hello” by Swedish artist My Kullsvik.

The Umbrella Academy Season 2 Episode 6: A Light Supper

Reginald invites his “pursuers” to 1624 Magnolia Street, Dallas. This address appears to be a parking lot currently.

“So there was a Black president?” Raymond asks Allison of the future. There was indeed, Ray.

“Hold on I’m Coming” by Sam and Dave plays as Allison and Ray have their day out on the town.

“Sixteen years in the grave and you finally turned into your father,” Klaus tells Ben. Given the Hargreeves’s 1989 birth year and 2019 current year of the show, Ben must have been around 14 when he died.

Dave has already signed up for the Army ahead of schedule, suggesting that the Hargreeves’ presence in 1963 really is altering the timeline.

The song playing as the Hargreeves approach their Tiki Lounge meeting is “The Order of Death” by Public Image Ltd.

Ben can now officially inhabit Klaus. This is an evolution of Klaus’s power of being able to communicate with the dead. Robert Sheehan said of this development: “(Klaus) can’t be as selfish anymore because (Ben) has this thing over me that he can do. We have a lot of fun with it and stuff, but it’s kind of about sobriety. I think Klaus and Ben’s relationship is entirely about sobriety versus addiction, for somebody who’s lived with addiction for so long.”

As Five will tell Luther and Diego in episode 7, Öga for Öga is Swedish for “An eye for an eye.”

The Umbrella Academy Season 2 Episode 7: Öga for Öga

A candy bar in the vending machine in 1982 Oshkosh, Wisconsin is a “Pogos-Gogos.” Pogo was likely a famous pop culture figure due to his space flight…and ability to speak English.

When Five takes an axe to the Commission executive board in 1982 Wisconsin, it’s hard not to think of American Psycho. Aiden Gallagher is a dead ringer for a young Patrick Bateman.

The song playing as Ben experiences life in Klaus’s body is “Sister of Pearl” by Baio.

We find out the name of Klaus’s cult is “Destiny’s Children.” Klaus is really working his knowledge of ‘90s R&B groups here.

The song playing as Allison battles The Swedes is “Everybody” by Backstreet Boys.

“I heard a rumor you killed your brother,” Allison tells one of the two remaining Swedes. It’s not clear why she assumes that they are brothers. But the fact that the lead Swede follows through means that Allison was correct. Otherwise The Swede would have hopped on a plane to seek out his real brother to kill.

“It was a simple task – just be here! We didn’t have to kill a giant sea serpent, fight off an army of mutants,” Five says of his team’s failure to rendezvous at the right time to escape the ’60s. The “kill a giant sea serpent” could be a reference to a brief moment in the comic’s one-off issue “But the Past Ain’t Through With You.” Sometime in the past, The Umbrella Academy defeated a sea serpent that attacked Japan because it was insulted that a toy-maker make unlicensed plush toys of it.

The Umbrella Academy Season 2 Episode 8: The Seven Stages

The FBI does have an office in Dallas but it’s about 10 miles away from Dealey Plaza and not directly behind the grassy knoll as depicted here. Or at least that’s what they want you to think…

Vanya is able to reflexively answer the FBI questioner back in Russian because Reginald Hargreeves was a strict teacher of foreign languages to The Umbrella Academy.

Grace finds photos of Fidel Castro, Lyndon B. Johnson, JFK, and a map of his motorcade route in Reggie’s files. This is a clear indication to her that Reggie is involved in an upcoming attempt against the President’s life. Grace also sees plans for a “televator.” This is the elevator teleportation device Reginald will one day build.

There are five stages of grief but apparently seven stages of side effects from confronting one’s self in the same timeline. Five lists them out thusly:

1. Denial

2. Itching

3. Extreme Thirst and Urination

4. Excessive Gas

5. Acute Paranoia

6. Uncontrolled Perspiration

7. Homicidal Rage

As Vanya begins her LSD trip, the song that plays is “Pepper” by Butthole Surfers. Some of the lyrics are particularly apt for this season – “they were all in love with dying, they were doing it in Texas.”

Diego discovers that Vanya will be the cause of the apocalypse yet again in 1963, which makes an argument that The Umbrella Academy operates under Devs-style determinism.

Around the 23-minute mark someone holding a Cha-Cha mask can be seen off in the distance at Commission HQ. The individual’s face can’t be seen but it’s not out of the question that this could be Cha-Cha. Commission assassins appear to age in an unusual manner. Alternatively this could be an assassin who donned the cartoonish helmet before Cha-Cha. Showrunner Steve Blackman says that either interpretation is valid: “In the Commission, it’s always 1963, but it never changes time. So that very well could have been Cha-Cha holding the mask.”

In her LSD nightmare, Vanya is chastised by Reginald for wanting to live “a silly life on a silly farm.” One of the issues of “Dallas” is titled “A Perfect Life” and deals partly with Luther imagining a tranquil domestic life with Allison.

The Umbrella Academy Season 2 Episode 9: 743

The episode gets its name from the case number in which Five executed Lila’s parents on The Handler’s orders.

Klaus references Antonio Banderas in complimenting Diego’s hair. Diego is legitimately touched.

Much of this episode takes place in or around Dealey Plaza – the location where John F. Kennedy was assassinated. The sections of note in Dealey Plaza are the book depository where Lee Harvey Oswald fired his rifle from and the grassy knoll where some people believe a second shooter shot JFK. The Umbrella Academy doesn’t make a trip to the book depository but does briefly show the grassy knoll with Reggie Hargreeves and his umbrella. Luther and the two Fives spend most of their time in a parking lot behind the grassy knoll.

Fittingly, the song that plays as young Five fights old Five is “Dancing With Myself” by Billy Idol’s band Generation X.

Much of Vanya’s acid trip is set to Bach’s “Partita No. 2 in D Minor” on violin. There is a lot of violin imagery as well. This is fitting given Vanya’s aptitude for the instrument. She receives the villainess name “White Violin” in the comic series.

“Dad treated you like a bomb before you were one,” Ben tells Vanya. The final issue of The Umbrella Academy Volume 1 is titled “Finale, Or, Brothers and Sisters, I Am an Atomic Bomb.”

Ben also tells Vanya he died “17 years ago” which seems at odds with Klaus’s declaration that Ben died “16 years ago.” Klaus and Ben have been in Dallas for three years though, so Ben died 19-20 years ago, depending on who is right. The year is also 1963 so Ben technically won’t die for another 42 or 43 years. Time travel is weird.

Luther and Young Five send Old Five back to the very start of The Umbrella Academy series, which avoids a truly mind-bending number of paradoxes.

Though it was teased in the show’s first season, Reginald Hargreeves reveals himself to be well and truly an alien in the final moments of this episode. Reggie unzips his skin mask, discards it, and then violently murders his Majestic 12 colleagues at the Tiki Lounge for them killing Kennedy against his wishes. This is a bit of information that the comic book is shockingly upfront about, casually revealing on the series’ second-ever page that Hargreeves is an alien and never addressing it further.

Before they’re slaughtered, the Majestic 12 claim that Reggie has interests on the dark side of the Moon. Perhaps Luther’s trip to the moon wasn’t pointless after all.

The episode concludes with a new song from Umbrella Academy creator and My Chemical Romance frontman Gerard Way called “Here Comes the End.”

The Umbrella Academy Season 2 Episode 10: The End of Something

This is the first time we’ve seen Ben’s funeral. His little casket is covered with squid iconography – a tribute to his power.

The Umbrella Academy are now all suspects in JFK’s death. That’s bound to change the timeline, right? Indeed it probably does based on this episode and the season’s conclusion. It’s also interesting just how inherently suspicious each member of the Umbrella Academy would be to 1963 society. Vanya has an Eastern European-sounding name and can speak Russian. Diego is Cuban. Allison is a Black revolutionary. Luther is an enormous bare-knuckle brawler. Klaus is a cult leader. All intimidating stuff.

The army of Commission goons that The Handler summons to take care of the Umbrella team is full of colorful masks and helmets a la Hazel and Cha-Cha.

On our set visit for The Umbrella Academy season 2, Five actor Aiden Gallagher revealed that several characters would discover “sub-powers” Gallagher said: “I was talking to Steve (Blackman) about this, and how it works is in season one, we sort of get hints about all the characters powers and in season two, we really see more so the extent how far that can go. How different elements of each character’s powers actually means that they have this sub-power.” Diego seems to come across a subpower in this final battle when he appears to be able to stop bullets. Blackman explains the power thusly:

“If you think about Diego’s power, he can, with his mind, control trajectory of objects. Basically he likes throwing, so he can throw his knife and he can make it go in weird, odd curvatures and directions. All of them stopped their training in their adolescence when the family broke up, and they are still learning about their powers and their powers are still evolving. As I go through seasons we’ll see more of that. But moving a knife through the air – an extension of that is then being able to manipulate bullets through the air.”

Speaking of powers, Lila appears to have…well, all of them. Lila displays Vanya’s power, Allison’s power, and Five’s power in fights with each of them. But as Klaus, likely correctly, theorizes later, Lila can only mirror one of their powers at a time. Her ability is mimicry. Diego surmises that this means Lila is one of them – one of the 43 children born on October 1, 1989. That’s why The Handler went out of her way to kill her parents and adopt her.

Allison leaves a letter for Ray in a copy of Jules Verne’s From the Earth to the Moon. A fitting book for the story of The Umbrella Academy and this season.

The song playing during the closing montage is a cover of Chris Isaak’s “Wicked Games” by Parra for Cuva featuring Anna Naklab.

Luther calls Jack Ruby, presumably to convince him not to kill Lee Harvey Oswald. But Jack has already picked up his gun.

Ah, The Sparrow Academy. We delved deep into what the ending of The Umbrella Academy season 2 means over here. For now, know that The Sparrow Academy is likely lifted from Volume 3 of The Umbrella Academy comics, “Hotel Oblivion.” We say “likely” because the team doesn’t have an official name but it does invoke a lot of Sparrow imagery. The Sparrow Academy turns up at the very end of volume “Hotel Oblivion.” In the show, The Sparrow Academy seems to exist in an alternate universe created by The Umbrella Academy’s actions in Dallas. In the comic, it is implied that they are simply seven other extraordinary children born on October 1, 1989. This could prove to be the case in the show as well…save for Ben Hargreeves, who we are obviously already familiar with.

The post The Umbrella Academy Season 2 Complete Easter Egg and Reference Guide appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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mindseyeinkarnate · 4 years

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Portraits of a Serial Killer - “The Cell” turns 20

I've often reflected how the influence of Art is a key component missing from Modern Horror. The Xenomorph we all know and fear came from the painted nightmares of Swedish surrealist H.R. Giger, the Screamer is said to have influenced the Ghostface Killer mask. For a further rundown of art's musings over the genre, I would highly recommend 2017's Tableaux Vivants for a look at 60 such portraits and the films they inspired.

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In the summer of 2020, The Medium video game appears to correct that oversight with the recent trailer dropping, adapting Polish painter, Zdzislaw Beksinski's frightening paintings. In the same season of the same year is when The Cell celebrates 20 years (8/17/2020). This film appeared to feature as many artistic influences as possible into its near two hour runtime.

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The sight of chains freaked me out upon watching my first Hellraiser movie, so the sexual perversion of their use in this film did little to alleviate such apprehension, especially as they pulled so tightly to suspend human flesh in the air. Despite a previous scene showing the villain having drowned his victim, this was the true introduction to his villainy - the former showed what he did, that latter why he did it. Even re-watching this film so many years later, I had to look away from the screen, recoiling from such a grisly display.

Typically, in Horror or any film that assumes a particular aesthetic, it is color that makes the impression to set mood. Instead, the use of white in this film, from the K9 to the bleached state of the victims is used to ghoulishly haunting effect.

I remember critics remarking that because of Vince Vaughn's comedic history they couldn't take him seriously in this role and relegated his involvement to stunt casting. I take the opposite stance since, for me, every role after this film simply serves as a reminder that he starred in The Cell. I've always felt that comedy actors do well in dramas - see Robin Williams in "Good Will Hunting" - and I thought that Vaughn did a serviceable job in this film, never distracting from either tone or plot.

I was happy that they just dove into the mechanics behind entering one's mind as an accepted reality, that they didn't get bogged down in techno babble or exposition of the technology. There is a time and place for the virtual journey into the cerebral frontier, such as The Matrix or a good adaptation of the Lawnmower Man, but for the Cell, I'm happy that they focused more on the story and not so much the science. The suits do look like Twizzlers, but it was made by Eioka Ishioka (who passed away in 2012), the same costume designer as Vlad Tepes' suit from Bram Stoker's Dracula. I do like that the two participators are suspended in the air while their minds are linked. It's an eerie callback to the killer's suspension from chains for sexual release. Also, it does give the technology that space age feel as though they are in a weightless environment.

Since the 90's, special effects have been criticized as dominating films to the point Stephen King is quoted as remarking that "story supports effects instead of effects supporting story". Similarly, an argument can be made that at times The Cell becomes too indulgent with its usage of famous art that serve no plot function, e.g. the Horse Split, the Three Women of Odd Nerdrum's Dawn painting, Mother Theresa and her Hallmark card, etc. As the director is quoted as saying "The thing about this film is it’s an opera, and there is no such thing as a subtle opera.” I don't believe that the script was penned as an excuse to pack in as much gallery portraits as possible or is an hour and fifty minutes of a music video. I just wish the director would've used each art piece he seeks influence from to develop the story or the character. The imagery doesn't always portray the killer's psychology or the psychologist's therapeutic technique. If he wasn't going to utilize subtlety, he should have implored restraint. He later added "Anyway, I missed the whole plot, just been talking visual all along, ah, where are we?”

Once in the killer's mind, his depiction as the master of his domain is a hauntingly accurate depiction considering the previous scenes of suspension rings in the back of his body, which unwittingly foreshadowed to the audience his royal appearance to come. Even the name, King Stargher, is a daunting title for a movie monster. When rising and descending from his throne, the violet robes receding from the walls and tracing along the room is hypnotically unnerving.

As tiresome as the "we're still in the dreamworld" trope can become (The Matrix, DS9 Season 7 episode 23 "Extreme Measures"), this film not only flips it when the psychologist realizes that she's "already in", but does so in a cleverly visual way.

King Stargher

Horned Stargher

Court Jester/Vatican Clown

Serpent Stargher

It is interesting to think that a single actor would assume many distinct monstrous characters. Unlike a Freddy Kreuger or a Pennywise that turn into manifestations of their victims' fears, the figures that Stargher assumes are all avatars of his own warped psyche, his own inner turmoil. Vincent D'Onofrio really does put in his all with this role. He's soft spoken and understated when he needs to be and malicious and heartless when the scene demands it. Along with the visuals of the film, D'Onofrio's performance is worth the price of admission. It's a shame that his acting as well as the movie's stunning artistry are what have gone overlooked all these years. Speaking of...

One invalid criticism that has been levied against the film is its attempts to persuade the audience to sympathize with the killer. My intention with the following statement is neither to flaunt my Horror insight nor to divide the lines between fans within Horror and those without. Having said that, even as an adolescent seeing this movie in theaters, I at no point felt remorse for the serial murderer and I chalk up this long-held misconception to a bad read on the film.

So off-base is this "critical analysis" that it can't even be regarded as a Jekyll & Hyde dynamic. The villain is not split down the middle between binary good and evil, where both halves are at war over his soul, or the repressed impulses of his Dark Passenger are manifesting in a heartless butcher. If there is any distinction, it is between who the antagonist was when a victim as a boy and what the man became as an adult victimizer. If anything it is the good that is repressed, not the evil. Furthermore, along with using the film's plot to force Alice down the rabbit hole of the Mad Hatter's mind, this film does address the nature of evil. When referring to Stargher, even Jennifer Lopez's character remarks "The Dominant side is still this horrible thing". The Vince Vaughn detective states "I believe a child can experience 100 times worse the abuse than what Gish (a different killer) went through, and still grow up to be somebody that would never, ever, ever hurt another living being." Thus, these serve as acknowledgement that the abducted criminal is firmly in the driver's seat to the point of its reference as a "thing" and a condemnation of what the killer has become, respectively.

Along with exploring the psychology of the killer, the film does not qualify the villain's innocence, it questions it.

The critics probably missed that pesky detail that would've debunked their headline before they pressed a single word of their denunciation.

These same professional critics wouldn't give a second's hesitation towards throwing Horror under the bus and condemning Scary Movies for inspiring violence if it meant their jobs were only the line, yet they would balk at the notion that continued mental trauma and physical abuse can cause psychopathic behavior.

There are classics and icons worth praising for their plot and performances, respectively, and then there are some Scary Films that Horror Fans view with the understanding of their heavy material and without your typical fanfare because they're a hard watch. I can see where people would be fans of Hannibal Lecter not because they or the film glamorizes cannibalism, but because of Anthony Hopkins' acting chops (excuse the pun). Conversely, John Doe, the serial killer of Se7en, has and will likely never enjoy such admiration because of the cold purity of his calculated evil. The 2 decade critique of The Cell's villain portrayal is a dark cloud that has unjustly hung over its head.

The motif of "the eyes of a killer" was something applauded in Rob Zombie's Halloween 2, yet ridiculed in The Cell 9 years prior?

This film's premise and the fact that it wasn't fully effectively executed makes it primed for a remake. Hollywood needs to be issued a Cease and Desist order of such wholesale dependence on Remakes in general, let alone in the Horror genre. When you consider that so many remakes can't outdo the original and even tarnish the films they attempt to emulate, why not fix the problems of a film that went wrong and take the credit when you get it right?

#TheCell #TheCellTurns20 #PortraitsOfASerialKiller

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skammovistarplus · 5 years

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Marlène Mourreau shows off her son, an actor

[Notes for people who aren’t conversant with Spanish celebs. Marlène Mourreau is a French TV host, vedette and burlesque artist who’s made her career in Spain. Professionally, she puts on a dumb blonde persona. Gabriel’s father is Cuban dancer and choreographer Michel Guevara, who currently lives in Brussels. They are divorced. Gabriel is an only child and has featured on many magazine spreads about his mother throughout the years. In Spain, mass media can’t publish pictures of underage people, such as pap pics. Exceptions are the Royal Family, children who have gone missing, or children who are famous in their own right (because they are actors, models, etc). As a result of this law, this is the first time Gabriel has been on a magazine spread without his face being blurred, lol.]

She looks at him while they pose for our camera at their Madrid home. Shortly after, they burst laughing. “Mom, you’re making me uncomfortable!” says Gabriel, sounding very much like a teenager. “Shush, I’ve been doing this for thirty years,” Marlène replies. The famous Frenchwoman brings out her vedette side, but the truth is that for this interview she’s just a mother and her ‘baby’ just turned 18, a beautiful moment they share with SEMANA magazine.

Gabriel is a Baccalaureate first year and is in the Social Sciences track. He’s also taking his first steps as an actor on the show Skam España (Movistar+). He says that being of age is only a little imposing: “It’s good, you get a bit more freedom.”

In your case, being an actor might be a genetic thing, right?

I think so. I’ve loved show business since I was little, more on my father’s side, because my mother’s side was all feathers and sequins. But I came along to my father’s rehearsals, I looked at him and I’d be fascinated. Then I liked acting even more and I said, “Mom, I want to be an actor.” She replied, “Get back to studying.” So that’s what I did.

What was your debut on the show like?

At first I was really nervous, but then when you get to know the cast and the directors, you become more confident and everything flows.

Is your character Cristian anything like you?

He’s a playboy, but he’s not the same as me. He doesn’t care what people think, he goes all in, he’s very self-confident. He likes partying a lot. I do my own thing, I’m more chill.

Do fans ‘assault’ you now that you’ve started to become famous?

There’s been a small change, because nobody used to recognize me or I was “Marlène’s son.” Now I’m Cristian from Skam. Although all told, I’ve only [signed two autographs]! (laughs) My mom was huge in her time and she handled it really well. I don’t think I’ll ever reach that sort of success, because she’s really high up there for me.

What is she like as a mom?

She’s very mom-like, very protective. She’ll make me put on five coats before I can leave the house, if I’m out partying she asks me to text her my location so she can pick me up… But she’s also very flexible. She’s a friend, but with a lot of boundaries. We’re a really good team. I tell my mom everything, I trust her a lot and we have a lot of fun together.

Does she give you advice?

Organization. But that didn’t work so well for me. She’s also told me not to trust people, to pay attention. She’s always been really smart in that aspect and has been really careful.

Do you mind that she’s a sexy mom?

My mother has her own style and she doesn’t care what people think of her and that’s very positive, but sometimes, dang! Once she picked me up from school with an ankle-length, rabbit fur coat… I had just finished football training and my teammates told me, “Look, a panda!” My mother has always been above all the other mothers, so to speak. As a kid it would affect me, but then it didn’t. Yeah, my mom is hot, so what? Now my friends don’t dare tell me anything. Have some respect.

What do you value about her?

She’s very clear-headed. She’s very organized, she has everything under control. My mother plays a dumb blonde role, but she’s actually really, really smart. She trips me up.

Who do you look like more, your father or your mother?

Physically I look a little like both. The upper half is my dad’s and my smile is my mom’s. Attitude-wise, I’m a joker; my Cuban side jumps out. But for things that really interest me I prepare thoroughly, like my mother.

What is your relationship with your father, who lives in Brussels, like?

Although he lives abroad, he’s very present and attentive of everything. He’s very strict, as a kid I was afraid of him, but he’s always supported me and given me good advice. He calls and texts me… The biggest birthday present would be that he could come to my birthday party. I want to throw a huge party with friends and family, at a club, all of us looking elegant. When my parents meet up it’s the best. They tease each other, but affectionately, and it makes me laugh.

Are you worried that you might be seen as “the son of”?

No, people don’t care about that. I prefer to focus on my projects, to be famous for something I did. To do that you have to be talented and to put in an effort, but I’m strong because I like it and I feel I can do it.

[Translation note: the spread now focuses on Marlène. I translated the bits of the interview that pertained to Gabriel. Feel free to skip this part.]

Marlène listens to him and can’t conceal her pride, but it’s obvious she’s guided him with a firm hand. She says she’s been a “single mom” (she separated from his father, Michel Guevara, when the boy was only three) and now, “I’m trying to process that he’s going to be a man. I like that he has a clear goal.”

What did you think when he said he wanted to be an actor?

At first I didn’t like the idea, but I knew that his personality wasn’t staid. He’s very social, a goofball, he likes clowning around, he’s witty… On [Skam España] I have been surprised by his voice, his acting and how much of a natural he is. I see him more as a film actor rather than TV and I see a future for him abroad.

As a mom, you are…

I’m very protective, a nag, I’m always hovering over him. I’m afraid of him going out, not because of him but because of the others, because I know he’s a good boy. I tell him that he’s got to be different, stand out, have his own personality, live for himself. I hope he listens to me.

Are you ready for your son to leave the nest?

In fact, I would’ve liked it if he were more independent, like I was. I moved out when I was 17. But he prefers being with mom. The problem is that he’s comfortable. Since he’s an only child and I’m single, we are a power couple. He doesn’t have his dad here and I don’t have a man in my life besides him. But I’d like it if he did like I did. Out in the ‘jungle’ you learn more than in an apartment with everything at your disposal. Show business is a real jungle and there are a lot of snakes…

[Captions: Marlène and her son, Gabriel, host us in their home in Madrid. They moved there this past September and they’re renovating it. It is here that they showed their great rapport.

Gabriel describes himself as a “nice [person], a joker, I like being the class clown…”

The youth, at his study and entertainment nook in his room. As well as an actor, he also would like to be a TV host

He is Cristian on the teen show Skam España. The Norwegian show Skam is a worldwide phenomenon, so much so that it has its own Spanish remake. Focusing on the lives of a teen gang, the cast includes Gabriel, who plays Cristian. It’s his first job on camera, but he’s more at ease every day. The show airs on Movistar+ and has been renewed for a second season.

Gabriel is starting to do modeling work as well, although he hasn’t put aside the books. Marlène is very firm about that.]

#skam españa #articles #gabriel guevara #skam spain #skames #skamesp

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oscar-isaacs-number-one-bitch · 6 years

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“A Star Is Born” Movie Review

A Star Is Born is the now third remake of the classic tale of musicianship, relationship, fame, and what it means to be true to yourself and others. Bradley Cooper stars as Jackson Maine, a famous country (?) musician who loves a good drink and occasionally a little something extra. While on the road, he walks into a drag bar where he hears the voice of Ally (Lady Gaga) bursting into a soul-melting rendition of “La Vie En Rose.” Believing that she really has the stuff to make into the music industry, he invites her out for a drink to tell her as much. The two bond over the course of the night, and that night becomes the starting point for their falling in love and making music together. Directed by Bradley Cooper and also starring Sam Elliot, Andrew Dice Clay, and (very briefly) Dave Chapelle, A Star Is Born is here to introduce us to 2018’s Oscar season. And when all is said and done, it’s bound to be in that nominations list itself.

We all saw the trailer for this movie when it first came out, and there wasn’t a single person I talked to who wasn’t just blown away by the staggering editing and musical poise that both Bradley Cooper and Lady Gaga introduced us to, but luckily enough, Cooper also co-wrote and directed an entire movie past the points the trailer shows to put in theaters for us to see. This movie is a masterwork of character, music, and raw emotional drama. When I first heard about it, I wasn’t sure. I’m not the biggest fan of country music, and that seemed to be the vibe going in. But what’s truly refreshing about this remake of the classic tale is that it’s not necessarily about a country musician (though Cooper’s apparently immaculate voice does lend itself well to the genre), but rather that at its center, this is a film about addiction and the truths that we hide from. Frequently in this film, Cooper’s character talks about having something to say with music, and that it doesn’t matter how long you get to say it for or by what method you deliver your message, it only matters that you say what you have to say. Not only is this refreshing to hear this theme throughout the movie, Cooper weaves it into the narrative with such subtlety you’d barely know that on a metaphorical level, he’s referring to it not mattering that he’s remaking A Star Is Born, because he has something to say about fame and addiction, and how one often feeds into or leads into the other, or vice versa.

Bradley Cooper’s direction makes it seem like not only has he been involved in the movie industry for decades, he’s been directing motion pictures with Clint Eastwood levels of confidence for years, making the fact that this is his directorial debut all the more impressive. His direction is assured as he takes us through the struggles of both Jackson and Ally. We feel for both of these characters right away, and even in their worst moments, we never feel as if they’re bad people, just struggling people. That in itself is difficult to do with characters like Cooper’s who frequently turn to the bottle when they’re down or having problems. His relationship with Ally never suddenly turns abusive or negative; it’s only the bottle he abuses, but never her. In addition to this, Ally’s struggle with welcoming the fame that comes with being a pop musician in this day and age is nuanced and heartfelt, never devolving into a “pop isn’t real music” realization or anything of the sort. It truly is an astounding feat for Bradley Cooper to pull off, and might likely land him a Best Director nod at this year’s Oscars.

Of course for there to be sympathetic characters, a movie needs great performances, and boy, does this movie have those in spades. We knew Bradley Cooper was a great actor already from such things as Silver Linings Playbook, but this seems like a new level of performance even for him. Much of the reason that Jackson is a sympathetic character at all is due to Cooper’s natural ability to make whatever character he plays likable in some form, shape, or fashion. You feel for him when you’re meant to, and you cheer for him when you want to, and his chemistry with Lady Gaga is impeccable and unmistakable. And speaking of Oscar hopefuls, you better believe that both of them might end up there with their performances, because this might be one of the more impressive musician-turned-actress runs I’ve personally seen coming from Lady Gaga. The care that she brings to Ally, the confidence in her shyness, and the breakout moments all come from a place deep within herself that I didn’t know she could pull from, and she nearly steals the show when herself and Cooper share the screen together. Whether supporting or lead, Gaga makes the absolute most of what she’s given, as does every performer. Even Sam Elliot, Dave Chapelle, and Andrew Dice Clay (especially Clay) manage to make impressive turns when they don’t have to.

The music is also top-notch stuff. Aside from the instantly iconic “Shallow,” which both Cooper and Gaga perform as a duet, this movie boasts some of the best movie music since Sing Street. Every song is either toe-tapping, insanely fun, or packed with heart, and often all these aspect converge on each other during the truly show-stopping moments, of which, yes, “Shallow,” is one. I may not be a fan of country music, but I’m definitely a fan of whatever is in this fabulous picture.

In the end, I don’t have a lot to say about A Star Is Born other than that this is easily the most confident start to Oscar season in a few years, and Cooper’s directorial debut has set a pretty high bar to clear for the rest of awards season. The music is great, the performances are fantastic, and one leaves the theater immediately wanting even more despite the fairly long runtime. This is easily one of the best films of the year so far and I would highly recommend going out and seeing it as soon as you can. Get ready, Academy; the race has officially begun.

I’m giving “A Star Is Born” a 9.5/10

#A Star Is Born #Movie Review #The Friendly Film Fan #Bradley Cooper #Lady Gaga #Sam Elliot #Andrew Dice Clay #Dave Chapelle #Movie #Film #Review #Oscars #Oscar Race 2018 #Oscar Race #2018 #New

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cmbynreviews · 6 years

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A complicated affair

Armie Hammer was poised to be a major matinee idol. But he wasn’t prepared for what happened to him on the set of Call Me by Your Name.

Armie Hammer is six-foot-five, a general advantage in life but one that doesn’t serve him well on the dance floor. "When I dance", he told me recently over lunch in West Hollywood, "I think, You’re really shit at this, and everyone around you knows it because you’re the tallest guy on the dance floor and you stick out like a sore thumb".

You can imagine Hammer’s embarrassment, then, when he had to shoot a dance scene for his new movie, the 1980s-set gay romance Call Me by Your Name. It’s a pivotal moment in the film that comes not long after his character, grad student Oliver, has arrived in a small Italian village to assist the professor father of our protagonist, 17-year-old Elio (Timothée Chalamet). The secret crush on this interloper that Elio nurses becomes full blown the night he watches Oliver boogie down to "Love My Way", by the Psychedelic Furs: Oliver’s ecstatic, unabashed, and utterly indifferent to the world around him. "And that’s so not me, in any situation", said Hammer. "I was like, ‘This is hell. Can we switch this for more nude scenes, please?’ "

It wasn’t easy, but Hammer finally shed his inhibitions. His moves are just the slightest bit dorky, yet his character’s confidence is irresistible. Just don’t expect Hammer to echo Oliver’s carefree attitude: Ever since a clip of the scene went viral in October, the actor has gone dark on social media. "Anytime I would open up my Twitter, it was just a ton of that", Hammer said with a laugh, referring to the clip, "and I was like, ‘Nope, I can’t have my nose rubbed in this anymore. I’m out!’ "

In person, the 31-year-old Hammer is almost implausibly self-effacing. When I told him that I liked his 2015 caper movie The Man From U.N.C.L.E. and how it was too bad it didn’t do better at the box office, Hammer seized the opportunity to quip at his own expense: "That might be the Armie Hammer effect". It’s true that since Hammer had his breakthrough dual role as the Winklevoss twins in David Fincher’s The Social Network, his follow-up projects – he played the charming prince in Mirror Mirror and the title role in The Lone Ranger – haven’t quite panned out. The irony is that The Social Network was supposed to launch him toward bigger movies, but none of his would-be franchise-starters managed to outgross that film domestically, and they left Hammer increasingly dissatisfied. "All of a sudden, I realized I was being shoehorned into something that was different than what I expected or wanted out of this business", he said. "When you’re sitting in an acting class when you’re young, they tell you about the ideal experience on a project, where you work on a movie that challenges you and draws something out of you. But you don’t get that on big movies".

So Hammer retrenched, working mainly in independent films like Nocturnal Animals and Birth of a Nation. Then director Luca Guadagnino sent Hammer the script for Call Me by Your Name. The offer was to play Oliver, whom the other characters call "la muvi star", a term that is meant both as praise and as a pejorative. In an attempt to dispel his crush, Elio initially dismisses Oliver as a shallow American hunk: He’s afraid to look closer, and isn’t it easier not to? Guadagnino, though, was determined to go deeper with Hammer than any of his directors had. "I think Armie’s a very complex person", said the Italian director, who also made I Am Love and A Bigger Splash. "It’s not just that he’s beautiful-looking. It’s that, plus his inner turmoil, that is fascinating to me".

"Inner turmoil" is not the primary thing people think of when presented with Armie Hammer, who spent his formative years living in the laid-back Cayman Islands and is the great-grandson of a famous oil tycoon. But the self-effacement I had been initially skeptical of is something that comes to Hammer naturally: He is used to being looked at but not really seen, which makes him nervous about revealing an unvarnished side. "There are a lot of things about Oliver that resonated with me, and primarily it was that projection of ease and casualness and comfort that you might not actually be feeling all the time", said Hammer. "My whole life, I’m bluffing my way through it all. And Luca was just like, ‘Nope, that doesn’t work around here’ – which was terrifying".

Hammer is married to TV host Elizabeth Chambers and has two young children, but when production on Call Me by Your Name began in the summer of last year, he left his family behind to move to the Lombardy town of Crema in order to immerse himself in the film’s world. He and Chalamet were two of the few English-speakers for miles and grew to depend on each other as a result, but his bond was even more intense with Guadagnino, who continually challenged Hammer to drop his defenses in a way he never had onscreen.

"I’ve never had such an emotional journey with a director", said Hammer. "I’ve never even considered directors to be emotional people! I don’t even know if I’ve worked with a director who even cared if I was mad at them before. It was more like, ‘Shut up and stand on your mark and do your job.’ "

As Call Me by Your Name goes on, Oliver is willing to reveal more parts of himself to Elio, who becomes his lover. But even before that moment, as with the dance scene, Guadagnino and Hammer searched for opportunities to dig deeper. The André Aciman book that Call Me by Your Name is based on tells the story from the point of view of Elio, who is enchanted with Oliver’s seemingly effortless confidence. Hammer, though, thought much of his character’s personality was performative, a well-practiced routine of smoke and mirrors. Even Oliver’s insouciant habit of ducking out of every scene with a breezy "Later!" had emotional underpinnings: "It’s about getting spooked by this human you’re infatuated with", explained Hammer.

Eventually, Hammer himself became spooked, having plunged into Guadagnino’s process so deeply. "The feeling of operating from that place of passion is really contagious and soul-satiating", he said. "It’s the safest place I’ve ever been in my life – still to this day – when it comes to feeling complete empathy, complete understanding, and complete love, no matter what. But then … he knows if you’re lying. He knows if you’re not being honest, whether in real life or in the performance. And he will not back off".

As the production neared its end, Hammer admits, he became peevish and started to withdraw. "For reasons that could be personal to Armie, I had the feeling that he was pulling away", said Guadagnino. "The movie wasn’t finished, and I had to bring him back". I asked Hammer what had made him behave like that. "Everybody was sort of lashing out because this thing was ending and nobody wanted it to", he said. He hesitated, wary of what to reveal. "Honestly", Hammer said, "I think I had fallen in love with Luca".

"For me to make a movie, it’s really creating a family", said Guadagnino. "Having a very profound familial bond with the people I’m doing the movies with, where you literally and constantly fall in love with all of them. Sometimes, this emotional flow can be very intense. Very! As it was with Armie. And then it can be very complicated".

Hammer had flourished as an actor and as a person under Guadagnino’s guidance and he couldn’t bear to let the project go. Eventually, he would have to, and so would Guadagnino, who was slated to begin his next film, a remake of the horror film Suspiria. Hammer said he became jealous once he felt Guadagnino mentally move on to that film. "I was like, ‘You fucking philanderer! You duplicitous bastard!’ And that made me pull away, and then he did, and it turned into this whole thing".

"That was not my explanation for it", said Guadagnino. "I never, never put Suspiria in front of Call Me by Your Name". Still, he understood Hammer’s passion and reciprocated it. "It’s beautiful when you fall in love with someone and you are restrained in your exploration of that feeling and you sublimate it in making a movie like that", said Guadagnino, who eventually called Hammer to his apartment to hash out his feelings.

"He basically nailed me, nailed me, nailed me", said Hammer. "And I was pretending: ‘No, man, that’s not it at all.’ Like, I couldn’t even be honest about that".

Hammer recommitted himself to the role, and he remembers the mixed feelings he had on his final day of filming. "It was such a powerful experience that in a way, I was thinking, I’m relieved that it’s gonna get mellower", said Hammer. "But also, I thought, I could do this forever".

Though he has recently been shooting the Ruth Bader Ginsburg biopic On the Basis of Sex in Montreal, Call Me by Your Name has not been far from Hammer’s mind. For one thing, it changed how he approached his career. "Now they’ll be hard-pressed to make me do something I don’t feel passionate about", Hammer said. "To be perfectly honest, for as much as people really seem to enjoy the movie, it pales so much in comparison to the actual process of making it. Other people didn’t get that experience. I did. Watching it feels like reading CliffsNotes of an amazing book. I was there every day, all day, living this thing, so now when I watch it for two hours, it’s just too quick. I wish I could go back to that place".

He has, in some ways. He flew back to Italy recently "just to be in Luca’s apartment and have conversations again". And he also taped the Call Me by Your Name audiobook, an experience that "felt like I got to go back to Crema", Hammer said. "We read it for 20-something hours, but it was just the best 20-something hours of the last couple months, apart from spending time with my family and kids".

Hammer’s performance as Oliver is so indelible that, at first, it’s difficult to imagine him inhabiting neurotic, love-struck Elio for the audiobook. However, the more you listen as Hammer wistfully describes his time on Call Me by Your Name – a transformative experience he will spend the rest of his life attempting to recapture – the more you realize it’s exactly how one might reminisce about a lover long gone. Hammer may play Oliver onscreen, but at heart, he is a secret Elio. "That’s exactly what it feels like!" he admitted. "And I’m still in love".

KYLE BUCHANAN | NEW YORK MAGAZINE | 13 Nov 2017 | (Photo: Amanda Demme)

#Call Me by Your Name #Guadagnino #timothee chalamet #armie hammer #andre aciman #james ivory #reviews #CMBYN #Elio #Oliver #Perlman #Chiamami col tuo nome

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chrissy96trans · 6 years

Text

[MAGAZINE INTERVIEW] 180420 WINNER for HARPER'S BAZAAR KOREA May Issue

JINWOO

Q. Do you have a personal favorite on the full album EVERYD4Y?

MOVIE STAR. It might be because I know the production process behind the making of the song and the motive and meaning of the lyrics but the lyrics are very realistic to me. I’ve found that I really like that kind of realism. (laughs)

Q. Is there a song [from the album] that you want to recommend we listen during this current season?

I want to recommend EVERYDAY to listen to during the spring. All the side tracks are good though.

Q. You usually always don’t do much to your hair but your curls are really eye-catching. Whose idea was it?

While I was thinking about our concept, I found this hairstyle on the internet. I said, “I want to do this hair!” while showing the pictures I found to our staff members. They all liked it. Actually, I curled my hair for REALLY REALLY promotions too but no one remembers it. (laughs) I want to keep curling my hair until the end of this promotion. Since I’ve always kept my hair long, I also want to try cutting it short like a buzz cut.

Q. Following “REALLY REALLY”, the public has become more attuned to Jinwoo’s vocal color. Is there a song you want to specially remake while highlighting your vocals?

Justin Bieber’s “Love Yourself”. I sang it very often when I practiced my singing [during my trainee period]. I recorded it multiple times too.

Q. You’re constantly working on your variety show skills by appearing on “Infinite Challenge” and “Live a Good Life”. You’re a vocalist in WINNER but how do you feel when you appear on variety shows alone?

As a singer, I think I’m given two options when I get to appear on variety shows. I can either forget the characteristics I show as a singer and immerse myself in the variety show or sustain my singer image on the show. I do the former. When I appear on variety show, I forget all about WINNER Kim Jinwoo’s appearance and I try to show me, the 100% human being Kim Jinwoo.

Q. Spending time as 100% human being Kim Jinwoo must also be precious to you then.

Yes, I’m a homebody so the time I stay at home amounts to quite a lot. But through variety shows, I’ve met many different people and I’ve become quite extroverted. I go outside to spend time with people more often now.

Q. Who is the artist you respect the most?

The late actress Choi Jin-shil. When I first watched the drama “My Rosy Life”, I became obsessed with it. Naturally, the acting she showed on that drama was really good too. That drama was the reason behind my wanting to officially start acting.

Q. Many people always talk about how you are a “warm-hearted person who cries easily”. On the other hand, Seungyoon, who trained with you [for the longest time] said that you are tenacious and that you’re a “genius through effort”. Are you usually very generous to others while being strict on yourself?

That’s right. I really hate to inconvenience others. This makes me be really strict on myself. Because of that, whenever I get angry or sad, instead of depending on others, I tend to repress my emotions often. There are pros and cons to this kind of personality.

Q. Who do you think is the winner of life?

Myself (laughs). When I look back from the time when I was a child who grew up in the countryside to the present where I’m a member of WINNER, there have been many changes. I’m going to continue to work hard to go forward.

MINO

Q. Your never letting go of your camera on set really impacted me.

I’m really into photography right now. I started it as a hobby last year but I’ve become more focused(/serious) about it recently. But because of that, I’ve bought too many cameras that it’s becoming a problem. I counted the number of cameras I’ve bought so far and they totaled up nine.

Q. Do you like collecting things?

Actually, I love things(/objects) in general. Four years ago, I really loved action figures so I collected them. At the time, our dorm was small so organizing them into a cramped space was really exhausting. Now, I like things/objects that are useful and I like efficient things that I can create with more than things I just look at.

Q. What songs do you enjoy listening to these days?

Hmm, I’ll show you my playlist. My all-time favorite song is Childish Gambino’s “Redbone”. I’ve been listening to it on repeat today, here on set. I also like Bachi(?)’s “Beautiful”.

Q. It feels like your rap style is constantly changing.

When I was in high school, I admired rappers with hard/rough voices. I liked rapping voices like DMX so I made my voice raspy and even shouted when I rapped. But you need a voice that has a wide spectrum rather than an aggressive voice when you need to be able to own all the songs in an album. I became aware of that and kept working hard. Once I changed my style, the spectrum of music I could rap to widened significantly. These days, I like to put in unique words into my lyrics. I’m working hard to be aware of the very thin line between childishness and uniqueness. I hope that even if I use a word that has ambiguous meanings, the way people understand it is straightforward. Including myself, I like it when lyrics are memorable to listeners.

Q. How do you react when you are suddenly inspired in your daily life?

I note it down no matter what, whether by writing it or drawing it. I really hate it when I forget something because I didn’t note it down. I usually go to sleep at late hours because I enjoy the time right before falling asleep. Out of all the hours on the clock, that’s when I get the most ideas. When I think while lying down, I get ideas even right before my REM sleep and I either write it down or end up falling asleep, without noting anything. Whenever I fall asleep, I always regret it when I wake up. I think, “Ah! I had something amazing yesterday!”

Q. When I looked at your Instagram, I could see that you’re good at drawing and that you even design goods. It seems that you have a talent in creating. Is there an Instagram account that inspires you while producing music or designing?

Ah, I don’t want to share this… (laughs) I enjoy looking at Matt Cunningham’s Instagram feed (@moon_patrol). He’s famous for making collage artworks. I really like his art.

Q. I just noticed that your phone case has blue roses on it. I also saw a blue rose on the goods you designed.

I’m obsessed with blue roses [these days]. [One time] I was spacing out while starting at them and I looked up the symbol behind blue roses. Because they were originally difficult to attain, blue roses meant “despair/hopelessness” but as it became easier to attain, the meaning changed to “hope” and “miracle”. I loved that so I changed my Instagram profile picture to a blue rose. From that time on, my fans have been gifting me with blue roses, which I am grateful for. One time, during a concert in Japan, I received a real flower [a blue rose] for the first time. I was so worried that it’ll wilt while we were coming back home that I was really careful even on the airplane.

Q. Just like last year, you had your comeback on April 4th. What do you think WINNER will be doing on April 4th, 2019?

Fascinatingly, I used to like the number 3. But we received so much love from our 4/4 comeback last year, and we included the number 4 in the album name (EVERYD4Y), so as the point of connection with the number 4 increases, it feels like 4 is now a symbolic number for WINNER. I even feel different whenever the hands of a clock point to 4. (laughs) Director Yang Hyunsuk also supports the concept with number 4 so wouldn’t there be a high possibility that you’ll be able to listen to new WINNER music on April 4th for at least a few years from now?

SEUNGYOON

Q. Like the lyrics of EVERYDAY, what is something that feels “new every day” for you these days?

I’ve been taking photos. I like the texture of film cameras so I recently bought one. I take pictures of my members and of landscapes. I’m working on a photo album so I’m taking photos to put into it.

Q. I saw you taking photos of the flowers in the garden right outside. When you are publishing the photo album you’re working on?

It’ll most likely take some time since choosing which photos to include will take time. I’m thinking about including pieces of my writing with the photos. The writing will be about the inspiration I received from the photos. I’ll write the inspiration I got from the photo next to the photo and I’m going to leave blank spaces so people who get the photo album can fill it in themselves.

Q. Where do you usually get inspiration from?

I usually get inspirations from daydreams. With this album (EVERYD4Y), I got a lot of inspirations while thinking about our fans. Even just starting with the theme “fan” takes my thoughts to many different directions. For example, it can be about our attitude when it comes to working hard for our fans, something we receive from fans, or things we want to tell our fans. These are the strongest inspirations I received recently.

Q. Is there a song from this album where the recording process was very memorable?

MOVIE STAR, which I put the most effort and sincerity into when writing the lyrics. Most of the songs on this album can be enjoyed without much thought but we worked really hard to include our stories into MOVIE STAR. When my members wrote their rap lyrics, they tried to exert a lot of sincerity into each word so they kept revising their revisions. In the last part of the song, we all sing together and we sang it joyously as if we were out camping.

Q. WINNER has many hit songs but Kang Seungyoon’s “Instinctively” will always be remembered. Right now, as an experienced musician, is there a song you want to remake?

I feel grateful for “Instinctively” because it’s the first song that made it possible for the public to become familiar with my name. If I were to remake a song now, I think I’ll think about a lot of things before remaking it. When I covered “Instinctively”, I was young and inexperienced so I did it bravely, but now, as someone who lives as a singer who creates songs, the categories of worries I must go through while producing music has become more detailed.

Q. You are now in your mid-20s. Was there a recent moment when you truly felt like you were becoming an adult?

When I look at my past self, I think I wasn’t very understanding of myself and of others. I used to yell at myself, “Why is that all I can do? Why is this all I can do?” Now, I’m accepting of errors and mistakes and acknowledge my own. I also acknowledge that each person is different.

Q. Your members called you a “nagging mom” during their interviews. Which member does things that make you nag on them?

I don’t think I nagged on them that much recently… Actually, I nagged on Mino (laughs). When Mino becomes obsessed with something, he wants to buy all the equipments for that thing like an expert. Mino has been buying lots of cameras these days so I told him to stop buying them but he bought more (laughs).

Q. Who do you think is the winner of life?

Someone who achieves what they want to, someone who chases the happiness they define. In our case, many people liking WINNER’s music and remembering us for a long time, make us WINNERs, don’t you think?

HOON

Q. Just like last year, you came back with your full album EVERYD4Y on April 4th. What do you think you’ll be doing on April 4th, 2019?

Releasing a new album on the same date would be nice but personally, I want to show a new side of WINNER in a different season with a different vibe. We’ve promoted during spring and summer so promoting during winter would be nice too. If this becomes reality, we’ll probably be working on music [on 4/4] or we might be traveling.

Q. Which song in the album do you have special affections for?

Track 11, the song RAINING. This song is actually my first self-composition. I was treasuring it and didn’t include it in our previous albums but our Japanese agency said they wanted to release it so it was first released through our Japanese album and then released in Korea through this full album. It’s a very meaningful song for me.

Q. From your rap lyrics to your clothes, it seems like you’re a person who has your own specific color. Even when you wore the uniform for the Pyeongchang Olympic Torch Relay, there was a cheerfulness specific to Lee Seunghoon (laughs)

Whatever I do, I put storytelling as my first priority. That’s why even when I pick out what to wear, instead of something tasteless, I tend to pick out clothes that are cheerful and witty while thinking about my image. Generally, I like wearing comfortable clothes but I always make sure to color-coordinate well. Instead of black and grey, I look for colors that are fun.

Q. What’s the story behind the lunch box you posted on SNS? You posted it with the hashtag “#ihatecarrots” but the lunchbox has 6 carrots drawn on it.

The lunchbox is a goods I designed for our Japanese fans. We were able to choose the items. My members chose hats and bags but I thought a lunchbox would be fun. When I chose the band to be green and the lunchbox to be orange, I thought of carrots. The drawing of the dog on the lunchbox is my pet dog, Haute, but he doesn’t hate carrots (laughs). I was trying to come up with something witty and came up with that. Both clothes and items become memorable when there are stories attached to them.

Q. I saw the puppy academy diary you posted on Haute’s Instagram account (@maetamongisdad). There were detailed comments but which comment made you most happy as Haute’s dad?

There were many comments about Haute having a good personality. Whenever I see those kinds of things, I feel proud and think, “I’ve raised him well” so I like them (laughs). I think that dog-training is similar to human education so I make sure to be strict and establish order of rank with Haute.

Q. I saw that you also posted pictures of tasty hamburgers you’ve eaten on SNS. Can you share the #1 tastiest hamburger?

I pick New York Shake Shack burger as #1. When we went to New York to film our music video (2014 S/S), my members were very jet-lagged and tired so I searched up hamburgers and went to Shake Shack by navigating on my phone map. Rather than thinking they’re the best brand, it was memorable how it was in another country and I went to the store without depending on anyone and ordered hamburgers with limited English. I remember I said, “The taste of America!” while eating it (laughs). If I was told to go eat the same hamburger right now, I don’t think it would taste the same. Like I said, stories are important (laughs).

Q. Is there an artist who inspired you quite recently?

Chef Choi Hyunsuk. I went to one of his restaurants recently. I like what he shows as an entertainer on TV but the moment I ate the dish he made, I strongly felt the feeling of eating a piece of artwork. Experiencing the tastes and looking at the stories, decorations, and assortments that were created with the course in mind made me think, “He’s a real artist.”

translated by @chrissy96_

scans by @goduandme5 ☆ ☆ ☆ ☆ (Tumblr wouldn’t let me include all the scans into this post so please make sure to check out the links)

#yg winner #kang seungyoon #winner seungyoon #kim jinwoo #winner jinwoo #lee seunghoon #winner seunghoon #song mino #winner mino

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letterboxd · 4 years

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Life in Film: Ben Wheatley.

As Netflix goes gothic with a new Rebecca adaptation, director Ben Wheatley tells Jack Moulton about his favorite Hitchcock film, the teenagers who will save cinema, and a memorable experience with The Thing.

“The actual process of filmmaking is guiding actors and capturing emotion on set. That’s enough of a job without putting another layer of postmodern film criticism over the top of it.” —Ben Wheatley

Winter’s coming, still no vaccine, the four walls of home are getting pretty samey… and what Netflix has decided we need right now is a lavish, gaslight-y psychological thriller about a clifftop manor filled with the personality of its dead mistress—and a revival of one of the best menaces in screen history. Bring on the ��Mrs Danvers’ Hallowe’en costumes, because Rebecca is back.

In Ben Wheatley’s new film adaptation of Daphne du Maurier’s best-selling 1938 novel, scripted by Jane Goldman, Lily James plays an orphaned lady’s maid—a complete nobody, with no known first name—who catches the eye of the dashing, cashed-up Maxim de Winter (Armie Hammer).

Very quickly, the young second Mrs de Winter is flung into the intimidating role of lady of Manderley, and into the shadow of de Winter’s late first wife, Rebecca. The whirlwind romance is over; the obsession has begun, and it’s hotly fuelled by Manderley’s housekeeper, Mrs Danvers (Kristin Scott Thomas, perfectly cast).

Each adaptation of du Maurier’s story has its own quirks, and early Letterboxd reactions suggest viewers will experience varying levels of satisfaction with Wheatley’s, depending on how familiar they are with both the novel and earlier screen versions—most notably, Alfred Hitchcock’s 1940 Best Picture winner, starring Laurence Olivier Joan Fontaine, and Judith Anderson.

Why would you follow Hitchcock? It’s been 80 years; Netflix is likely banking on an audience of Rebecca virgins (the same kind of studio calculation that worked for Bradley Cooper’s A Star is Born). Plus, the new Rebecca is a Working Title affair; it has glamor, camp, Armie Hammer in a three-piece suit, the sunny South of France, sports cars, horses, the wild Cornish coast, Lily James in full dramatic heat, and—controversial!—a fresh twist on the denouement.

A big-budget thriller made for a streamer is Wheatley coming full circle, in a way: he made his name early on with viral internet capers and a blog (“Mr and Mrs Wheatley”) of shorts co-created with his wife and longtime collaborator, Amy Jump. Between then and now, they have gained fans for their well-received low-to-no budget thrillers, including High-Rise, Kill List and Free Fire (which also starred Hammer).

Over Zoom, Wheatley spoke to Letterboxd about the process of scaling up, the challenge of casting already-iconic characters, and being a year-round horror lover. [The Rebecca plot discussion may be spoilery to some. Wheatley is specifically talking about the du Maurier version, not his film.]

Armie Hammer and Ben Wheatley on the set of ‘Rebecca’.

Can you tell us how you overcame any concerns in adapting a famous novel that already has a very famous adaptation? How did you want to make a 1930s story relevant to modern audiences? Ben Wheatley: When you go back to the novel and look at how it works, you see it’s a very modern book. [Author Daphne du Maurier is] doing stuff that people are still picking up the pieces of now. It’s almost like the Rosetta Stone of thrillers—it tells you everything on how to put a thriller together. The genre jumping and Russian-doll nature of the structure is so delicious. When you look at the characters in the book, they’re still popping up in other stuff—there’s Mrs Danvers in all sorts of movies.

It remains fresh because of its boldness. Du Maurier is writing in a way that’s almost like a dare. She’s going, “right, okay, you like romantic fiction do you? I’ll write you romantic fiction; here’s Maxim de Winter, he’s a widower, he’s a good-looking guy, and owns a big house. Here’s a rags-to-riches, Cinderella-style girl. They’re going to fall in love. Then I’m going to ruin romantic fiction for you forever by making him into a murdering swine and implicating you in the murder because you’re so excited about a couple getting away with it!”

That’s the happy ending—Maxim doesn’t go to prison. How does that work? He’s pretty evil by the end. It’s so subtly done that you only see the trap of it after you finish reading the book. That’s clearly represented in Jane Goldman’s adaptation that couldn’t be done in 1940 because of the Hays Code. That whole element of the book is missing [in Hitchcock’s Rebecca]. But I do really like this style of storytelling in the 1930s and ’40s that is not winky, sarcastic, and cynical. It’s going, “here’s Entertainment with a big ‘E’. We’re going to take you on holiday, then we’re gonna scare you, then we’re gonna take you around these beautiful houses that you would never get a chance to go around, and we’re gonna show you these big emotions.”

After High-Rise, you ended up circling back to more contained types of films, whereas Rebecca is your lushest and largest production. How was scaling up for you? Free Fire does feel like a more contained film, but in many ways it was just as complicated and had the same budget as High-Rise, since it’s just in one space. Happy New Year, Colin Burstead is literally a contained film, that’s right. What [the bigger budget] gave me was the chance to have a conversation where I say I want a hotel that’s full of people and no-one says you can’t have any people in it. You don’t have to shoot in a corner, so that scale is suddenly allowed.

Elisabeth Moss and Tom Hiddlestone in Wheatley’s ‘High-Rise’ (2015).

The other movies I did are seen as no-budget or, I don’t even know the word for how little money they are, and even though High-Rise and Free Fire were eight million dollars each, they’re still seen as ultra-low budget. This is the first film that I’ve done that’s just a standard Hollywood-style movie budget and it makes a massive difference. It gives you extra time to work. All the schemes you might have had to work out in order to cheat and get around faster, but now it’s fine, let’s only shoot two pages today. We can go out on the road and close down all of the south of France—don’t worry about all the holidaymakers screaming at you and getting cross! That side of it is great.

You had the challenge to cast iconic actors for iconic roles. What were you looking for in the casting? What points of reference did you give the actors? I don’t think we really talked about it, but [Armie Hammer] definitely didn’t watch the Hitchcock version. I can understand why he wouldn’t. There was no way he was going to accidentally mimic [Laurence] Olivier’s performance without seeing it and he just didn’t want to have the pressure of that. I think that’s quite right. It’s an 80-year-old film, it’s a beloved classic, and we’d be mad if we were trying to remake it. We’re not.

The thing about the shadow that the film cast is that it’s hard enough making stuff without thinking about other filmmakers. I’ve had this in the past where journalists ask me “what were your influences on the day?” and I wish I could say “it was a really complicated set of movies that the whole thing was based around”, but it’s not like that. When you watch documentaries about filmmakers screening loads of movies for their actors before they make something—it’s lovely, but it’s not something I’ve ever done.

The actual process of filmmaking is guiding actors and capturing emotion on set. That’s enough of a job without putting another layer of postmodern film criticism over the top of it—“we’ll use this shot from 1952, that will really make this scene sing!”—then you’re in a world of pain. Basically, it’s my interpretation of the adaptation. The book is its own place, and for something like High-Rise, [screenwriter Amy Jump] has the nightmare of sitting down with 112 pages of blank paper and taking a novel and smashing it into a script. That’s the hard bit.

Armie Hammer and Lily James in ‘Rebecca’.

Current industry news is not so great—cinemas are facing bankruptcy, film festivals in the USA are mostly virtual, Disney is focusing on Disney+ only. How do you feel about a future where streaming dominates the market and the theatrical experience becomes, as we fear, an exclusive niche? Independent cinema was born out of very few movies. If you look at the history of Eraserhead—that film on its own almost created all of cult cinema programming. One movie can do that. It can create an audience that is replicated and becomes a whole industry. And that can happen again, but it needs those films to do that. They will come as things ebb and flow. The streamers will control the whole market and then one day someone will go “I don’t want to watch this stuff, I want to watch something else” and they’ll go make it.

It’s like The Matrix, it’s a repeating cycle. There’ll always be ‘the One’. There’s Barbara Loden in 1970 making Wanda, basically inventing American independent cinema. So I don’t worry massively about it. I know it’s awkward and awful for people to go bankrupt and the cinemas to close down, but in time they’ll re-open because people will wanna see stuff. The figures for cinemagoers were massive before Covid. Are you saying that people with money are not going to exploit that? Life will find a way. Remember that the cinema industry from the beginning is one that’s in a tailspin. Every year is a disaster and they’re going bust. But they survived the Spanish Flu, which is basically the same thing.

Two months ago, you quickly made a horror movie. We’re going to get a lot of these from filmmakers who just need to create something this year. What can you identify now about this inevitable next wave of micro-budget, micro-schedule pandemic-era cinema? I’ve always made micro-budget films so that side of it is not so crazy. There will be a lot of Zoom and people-locked-in-houses films but they won’t be so interesting. They’re more to-keep-you-sane kind of filmmaking which is absolutely fine. Where you should look for [the ‘pandemic-era’ films] is from the kids and young adults through 14 to 25 who’ve been the most affected by it. They will be the ones making the true movies about the pandemic which will be in like five years’ time.

People going through GCSEs and A-Levels [final high-school exams in England] will have had their social contracts thoroughly smashed by the government after society tells them that this is the most important thing you’re ever gonna do in your life. Then the next day the government tells them “actually, you’ve all passed”, then the next day they go “no, you’ve all failed”, and then “oh no, you’ve all passed”. It’s totally bizarre. Anyone who’s in university at the moment [is] thinking about how they’ve worked really hard to get to that position and now they’ve had it taken away from them. That type of schism in that group will make for a unique set of storytelling impetus. Much more interesting than from my perspective of being a middle-age bloke and having to stay in my house for a bit, which was alright. Their experience is extreme and that will change cinema.

Kristin Scott Thomas as Mrs Danvers in ‘Rebecca’.

It’s time to probe into your taste in film. Firstly, three questions about Alfred Hitchcock: his best film, most underrated film, and most overrated film? It’s tricky, there’s a lot to choose from. I think Psycho is his best film because, much like Wanda, it was the invention of indie cinema. He took a TV crew to go and do a personal project and then completely redefined horror, and he did it in the same year as Peeping Tom.

There’s stuff I really like in Torn Curtain. Certainly the murder scene where they’re trying to stick the guy in the oven. It’s a gut-wrenching sequence. Overrated, I don’t know. It’s just a bit mean, isn’t it? Overrated by who? They’re all massively rated, aren’t they?

Which film made you want to become a filmmaker? The slightly uncool version of my answer is the first fifteen minutes of Dr. No before I got sent to bed. We used to watch movies on the telly when I was a kid, so movies would start at 7pm and I had to go to bed at 7:30pm. You would get to see the first half-hour and that would be it. The opening was really intriguing. I never actually saw a lot of these movies until I was much older.

The more grown-up answer is a film like Taxi Driver. It was the first time where I felt like I’d been transported in a way where there was an authorship to a film that I didn’t understand. It had done something to me that television and straightforward movies hadn’t done and made me feel very strange. It was something to do with the very, very intense mixture of sound, music and image and I started to understand that that was cinema.

What horror movie do you watch every Hallowe’en? I watch The Thing every year but I don’t tend to celebrate Hallowe’en, to be honest. I’m of an age where it wasn’t a big deal and was never particularly celebrated. I find it a bit like “what’s all this Hallowe’en about?”—horror films for me are for all year-round.

What’s a brilliant mindfuck movie that perhaps even cinephiles haven’t seen? What grade of cinephile are we talking? All of the work by Jan Švankmajer, maybe. Hard to Be a God is pretty mindfucky if you want a bit of that, but cinephiles should know about it. It’s pretty intense. Marketa Lazarová too.

‘Marketa Lazarová’ (1967) directed by František Vláčil.

What is the greatest screen romance that you totally fell head over heels for? I guess it’s Casablanca for me. That would be it.

Which coming-of-age film did you connect to the most as a teenager? [Pauses for effect] Scum.

Who is an exciting newcomer director we should keep our eyes on? God, I don’t know. I would say Jim Hosking but he’s older than me and he’s not a newcomer because he’s done two movies. So, that’s rubbish. He doesn’t count.

[Editor’s note: Hosking contributed to ABCs of Death 2 with the segment “G is for Grandad” while Wheatley contributed to The ABCs of Death with the segment “U is for Unearthed” and also executive produced the follow-up film.]

What was your best cinema experience? [Spoiler warning for The Thing.]

Oh, one that speaks in my mind is seeing The Thing at an all-nighter in the Scala at King’s Cross, and I was sitting right next to this drunk guy who was talking along to the screen. It was a packed cinema with about 300 people, and someone at the front told him “will you just shut up?” The guy says “I won’t shut up. You tell me to shut up again and I’ll spoil the whole film!” The whole audience goes “no, no, no!” and he went “it’s the black guy and the guy with the beard—everyone else dies!” That made me laugh so much.

Do you have a favorite film you’ve watched so far this year? Yeah, Zombie Flesh Eaters.