Tag Archives: It’s Been A Minute

Omnibus (week of April 1, 2018)

“Get it together, Parsons,” I said to myself. “Clean your damn apartment and get your 5K back under a non-embarrassing time.” That is why I listened to 34 podcast episodes this week. (That’s a conservative number — there are a few shows I don’t review, and I frankly can’t remember which of those I listened to this week.) Below, you’ll find them nicely compressed into a manageable 21 reviews, plus an additional three for the things I got through this week that aren’t podcasts.

Also, if you would like to hear me blindside Sheryl MacKay with a whack-a-doo theory that even I don’t completely subscribe to, you’ll find that at 1:21:58.

24 reviews.

Literature, etc.

Scott McCloud: Making Comics — I just turned in my final assignment in that comics class I’ve been taking, and I figured I may as well finish the course reading. Better late than never. We weren’t obliged to read Making Comics in its entirety, but I did because why the hell not. Scott McCloud is not only a good teacher and a perceptive analyst of the medium in which he works. He’s also one of the funnest media critics out there. In case you’re unfamiliar: this is a guy who makes works of serious, penetrating comics criticism — that are themselves comics. His ability to demonstrate concepts by example is unmatched, and his books of comics criticism are themselves among the most formally innovative comics I’ve encountered. Understanding Comics remains his masterpiece, because its focus is broad enough that it doesn’t really age. Making Comics contains some stuff about webcomics that feels ancient now. But when he sticks to the basics of the comics form, regardless of medium, McCloud is a fountain of practical advice here. If you’ve ever wondered what fundamentals you should keep in mind when working simultaneously with words and pictures, this is the book for you. Pick of the week.

Music

John Luther Adams/JACK Quartet: Everything That Rises — John Luther Adams either captivates me or leaves me cold. (No Alaska pun intended.) This did the latter. It is one of his more high-concept works, based on just intonation. It is also one of his more dissonant pieces, which isn’t something I look to him for. Don’t get me wrong, he can do what he wants: but I’ve always enjoyed the side of JLA that puts you in a trance, then takes you somewhere. This piece definitely takes you somewhere — up, in keeping with the title. But it foregoes the trance in favour of a calculating raised eyebrow. Not for me, I’m afraid.

Kyle Craft: Full Circle Nightmare — I loved Dolls of Highland. I had some concerns about its consistent portrayal of women as evil magic temptresses, but there was enough self-effacing humour throughout that I could give him the benefit of a doubt. It also helps that Kyle Craft’s music scratches a huge itch for me: huge sounding rock with bombastic vocals and a turn of phrase you can sink your teeth into. And that itch is almost equally scratched on this new record. But at this point I’m thinking he needs to find something new to sing about. This whole “women: can’t live with ‘em, can’t live without ‘em” thing is not sustainable. Still, when it’s good it’s good. I’m particularly fond of the new direction on the semi-psychedelic “Belmont (One Trick Pony).” This feels like one of those albums that may or may not be the second-last one by its artist that I ever hear. Stay tuned.

Podcasts

It’s Been A Minute: “Momofuku Chef David Chang’s ‘Ugly Delicious’ Food” & “Zach Braff and Alex Blumberg on ‘Alex, Inc.’” — I’m finding that I get a lot more out of this show’s Tuesday edition, where Sam Sanders talks with an interesting person, than I do out of its Friday wraps. Maybe it’s just that I don’t feel the need for any more “making sense of the news” in my life, because that is a thing that the entire media is trying to do now. But the Tuesday shows are really good, because Sanders is fun to listen to and seemingly fun to talk to as well. The David Chang interview is great fun, as they usually are. Sanders is good at talking about intersections of race and culture, and Chang is a thoughtful guy on that subject. The episode focussing on Alex, Inc. is really something — mostly because it’s great fun hearing Alex Blumberg pretend that he likes the milquetoast sitcom that ABC made out of his game-changing podcast. To Sanders’ credit, he manages to have an interesting conversation with Blumberg and Zach Braff that touches on both of their wheelhouses without the whole thing coming off the rails.  

Code Switch catch-up — Of the last four episodes, the two most recent are the most essential. “The Road to the Promised Land, 50 Years Later” is a bit jarring because it consists largely of news reports for actual NPR — like the radio. You don’t realize how different that tone is from NPR podcasts until you hear it on an NPR podcast. But the story of how Martin Luther King’s assassination reverberates half a century later is fascinating and well told here. For something a bit more podcast-native, the Amara La Negra interview is an energetic discussion of Afro-Latinx identity

Reply All: “A Pirate In Search of a Judge” — A lesser instalment of “Super Tech Support,” which nonetheless includes some amusing banter. Also: has anybody compiled the Breakmaster Cylinder bits into a supercut? Please somebody do that. I think there’s an argument to be made that whoever they are, they’re doing the most innovative audio storytelling in the podcast space — and they’re doing it in the last two minutes of somebody else’s show. (Unless, of course, P.J. Vogt is Breakmaster Cylinder, which I find quite plausible.)

In Our Time: “Augustine’s Confessions,” “Hildegard of Bingen” & Roman Slavery” — Melvyn Bragg is in his glory when he gets to talk about Christianity. The Augustine episode is accordingly excellent. The episode on Roman slavery is a good summation of a thing that you probably don’t think about very much. But it’s the repeat episode about Hildegard that’s the real standout in this run. Being a music person, I have always mostly thought of her as the composer of the most beautiful music from the Middle Ages. And I’ve always been passingly aware of her status as a great polymath, contributing to theology, literature, medical research and brewing techniques. (She penned the earliest surviving writings on the use of hops in beer. She didn’t like them. Fair enough.) But this episode focuses on her role in the church of her time: a woman who was respected not so much because she was a genius, though she clearly was, as because she claimed to receive visions from God. It’s tempting for us now to look at Hildegard as a woman who overcame the social stigmas of her time by being exceptional and working hard, but really even that wasn’t enough. She was allowed to give sermons not because she was a good sermonizer, but because the church saw her as a direct channel to God, so they made an exception. A sad thing. That’s a great episode. You should listen to it.

Fresh Air: “The Evolution of Artificial Intelligence” & “Madeleine Albright” — Two interviews about big important things, one of which features a big important person. Listen to the Madeleine Albright one. When she talks about the problems with Trump’s foreign policy, it’s probably worth considering what she has to say.

Radiolab: “Rippin’ the Rainbow an Even Newer One,” “Border Trilogy” parts 1 & 2 — The update to the mantis shrimp story is good for my sense of nostalgia about the old Radiolab, but the first two instalments of their series on the border are both challenging my general sense that this show’s best days are behind it. Every so often they pull out a classic, and so far this is one. Basically, it poses the question of how well-meaning policies can result in migrants dying in the desert, possibly by the thousands. It is the new Radiolab — the au current, political Radiolab — at its best.

The Gist: “Clinging to Guns Is Our Religion” — This is a gun control debate between a moderate liberal and a moderate conservative. It is as scintillating as that sounds.

Bullseye: “Andrew W.K. & Bill Hader” — Here are two people I’m not super interested in, having conversations I enormously enjoyed. Andrew W.K. in particular is a person who you just know will have a good chat with Jesse Thorn. And he did. Note that this is also the episode with Thorn’s review of It’s Too Late to Stop Now by Van Morrison, which led me to make one of the weirdest pieces of radio that I personally have ever made. (See top of page.)

Desert Island Discs: “David Byrne” — Wow, he’s in a good mood. Like, a suspiciously good mood. But as we all know, he’s got great taste in music and he’s an interesting guy. I really need to read his book. Good listening.

The Daily: “Wednesday, Apr. 4, 2018” & “Friday, Apr. 6, 2018” — Oddly, I find myself more inclined to listen to news shows when they are meta-stories about the media. These are two episodes of The Daily that examine TV news in different ways. One demonstrates how Fox News played a role in the revitalization of Trump’s anti-immigration policies, and the other examines how the takeover of local media by larger corporations leads to a lack of editorial freedom. Both are great, the latter is likely the one that will remain relevant by the time you read this. Damn, the world is cray.

Pop Culture Happy Hour: “Love, Simon” & “Roseanne and What’s Making Us Happy” — I will watch neither of these things, but I did enjoy the chats. Linda Holmes and Stephen Thompson had an interesting exchange about Roseanne. That is my review of this week’s Pop Culture Happy Hour episodes; I hope you have enjoyed it.

The World According to Sound: “Idea of North” — I intend to go back and hear this show’s full archives at some point, which shouldn’t be hard since the episodes are a minute and a half long. But for now I will follow their series on great radio they think I should hear. I have never heard Glenn Gould’s “The Idea of North,” which is a travesty because I work at CBC Radio and I am literally looking at a three-CD set of Gould’s radio work right now. It’s right there on my shelf. Maybe this is the week.

Song by Song: “Hang On St. Christopher” — I’m looking forward to hearing these two give their take on Frank’s Wild Years, because I know from previously that it isn’t either of their favourite. On the other hand, it has always been my favourite. I think it is a masterpiece that stands head and shoulders above its two immediate predecessors. It is simultaneously weirder and more polished than Rain Dogs, and it contains Waits’ most theatrical music. That’s the mode I like him best in. This episode gives a good summation of why it’s so theatrical and why it’s necessary nonetheless to consider it as an album rather than the soundtrack to a misbegotten live show.

Imaginary Worlds: “Visions of Philip K. Dick” — I actually didn’t know that Philip K. Dick spent his final years having either religious experiences or a form of paranoid psychosis. That is interesting. This is interesting. The audio of Dick talking in Paris during that time is captivating. Listen at least for that. It’s right at the start.

Constellations: “anna friz – air can break your heart” — Okay, time to get frank about this show. The thing that’s good about it is that it highlights audio makers who are working largely outside the confines of what’s considered “radio.” Much of what’s featured here falls more easily under the category of “sound art.” This is good. I want this sort of thing to find its way into my podcast feed, between all the NPR and roundtable chat shows. But the fact is that a lot of this material is fairly obscure and alienating, and in presenting it without comment at the start of the episode, and only offering a bare minimum of context from the artist afterwards (the audio equivalent of a brief “artist’s statement” on a website or brochure) doesn’t necessarily present it in its best light. As a listener, I want to hear work like this week’s piece — an abstract mix of ambient sound and muted speech — addressed in a way that’s slightly more playful. Because however much I enjoy it on its aesthetic merits, it still leaves me with questions like “what?” and “why?” And I’d like to hear those questions answered conversationally, with frankness and humour. I want to hear the hosts engage these artists on the level that their listeners are coming into this at: with respect and curiosity, but also occasional good-natured bewilderment. I want a proxy — somebody to step in and have a human conversation in this art world’s rarified air. The fact that this show doesn’t do this strikes me as a missed opportunity. TL;DR: Constellations is doing good work, but I wish it were less precious about the good work it’s doing.

99% Invisible: “Airships and the Future that Never Was” & “Making it Rain” — 99pi is 300 episodes old. (Well, 301, actually. But I’m only just getting to both of those episodes.) It seems appropriate to me that in spite of the show’s substantial growth in terms of both audience and staff, the 300th episode should be a return to the early days, when it was just Roman Mars making elegant, miniature stories about design. Even the subject matter, airships, is nostalgic. It’s a good episode. “Making it Rain” is good too, but less singular. While I have come to really enjoy all of the producers on this show, their presence has the effect of making 99pi sound more like public radio and less like the trailblazing independent podcast that it started off as. That’s how I’d summarize the trajectory of this show: as it’s gotten bigger, it has become less distinctive — even as its stories have become more ambitious. I’m not likely to stop listening anytime soon, not when this show pulls off stuff like the recent two-parter about the Bijlmer. But ultimately, I think Roman Mars’s greatest accomplishment hasn’t been 99pi itself, but leveraging its success into the formation of Radiotopia, which remains the most consistent, satisfying and surprising podcast collective out there. Quite a throne to maintain in these times. On that note, here are the rest of the Radiotopia shows I listened to this week. This next one is something I never would have heard if not for 99pi, which would be unconscionable.  

Theory of Everything: “This Is Not A Drill (False Alarm! part i)” — This new mini-season from Benjamen Walker is justly receiving heavy promotion across the Radiotopia stable of podcasts, and if you haven’t checked it out yet, you must. It begins with a straightforward account of what it was like to be in Hawaii during the cruise missile false alarm, then continues into a scrambled retelling of both “The Boy Who Cried Wolf” and “The Emperor’s New Clothes.” Then it gets straight into the question at the heart of the series: how can Benjamen Walker continue making a show that’s neither fully fact nor fully fiction in the era of Fake News? I know people who have been vexed by this show’s blend of real and fake. I’ve never been one of them. I tend to think that the people who are the angriest about stuff like this, the Onion and so forth, are actually mostly angry at themselves for their own credulousness. For my part, I am delighted that podcasting’s most protean paranoiac is about to dive into the nature of reality itself in 2018. Hear this. Pick of the week.

The Kitchen Sisters Present: “Poet Lawrence Ferlinghetti — Celebrating 99 Years” — This story about the great counterculture icon and champion of the Beat poets, Lawrence Ferlinghetti, seems like it’ll be a good warmup for the Kitchen Sisters’ “The Keepers” series about archivists. I’m really looking forward to that. This is nice, though I confess that Ferlinghetti’s own poetry doesn’t do much for me.

This is Love: “A Private Life” & “What Are We Going To Do” — This is Love is proving to be a lovely show, though rather cute. These have thus far been rather positive stories. Even when they flirt with heartbreak, each episode manages to spin the story into something uplifting. That’s fine, but I hope (he says, realizing what a sadist he sounds like) that this show finds its way to the darker side of its subject matter at some point as well.

What Trump Can Teach Us About Con Law: “Deadly Force” — This is a slighter but more direct exploration of a topic that Radiolab went in depth about a few months back. I think I prefer this version.

The Memory Palace: “Junk Room” — This feels like a throwback to the episodes Nate DiMeo made for the Metropolitan Museum of Art, which I really enjoyed in spite of not having been to any of those exhibits. This episode is about one of the weirdest collections of art in Washington D.C.: a room where the states all sent statues of two of their greatest figures. That’s subject matter that allows DiMeo to do what he’s great at: writing beautifully about figures who have been left out of popular history, and asking why Confederate leaders keep getting included instead.

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Omnibus (week of Mar. 4, 2018)

Sometimes on weeks when you feel like three different people are pulling your hair in six different directions, you’ve got to spend as much time as possible in a movie theatre for the sake of your own sanity. I’ve seen six movies in theatres in the past two weeks, plus the Rio’s live broadcast of the Oscars. It is the ultimate refuge. Netflix will never be able to compare, because Netflix does not force you to forego the rest of your life during the duration of the movie. That, more than the big screen or even the crowd of like-minded strangers, is the best thing about seeing movies in a theatre. You are at the mercy of the projectionist. Surrender or leave.

Here are this week’s 21 reviews, four of which are of things that took place in movie theatres.

Live events

Gentlemen Hecklers present: Twilight — The only way to watch Twilight is to watch it with three comics heckling it from the sidelines. I know two of the Gentlemen Hecklers from their role as ubiquitous Vancouver trivia hosts. They are funny people. But more than that, Twilight is really bad movie. The Hecklers’ best bit by far was also possibly their easiest: a drinking game where you drink whenever Edward Cullen does or says something that is a relationship red flag. It is perhaps apropos that Robert Pattinson has recently become such an interesting character actor, given that his breakout role was an abject failure to be anything resembling a leading man. Between him and Kristen Stewart, the human face is contorted into more inexplicable formations during the course of this movie than in Jack Nicholson’s entire career. This was a good time. Twilight is awful.

Movies

The Florida Project — I talk a big game about my propensity to cry during movies. I make myself out to be a right basket case: the champion of vulnerable masculinity. But the truth is that very few movies that are not directed by Wes Anderson have ever really opened the floodgates for me. But the final moments of The Florida Project put me in a right state. The tone of this movie is so nonchalant and whimsical in the face of truly bleak subject matter that its final dive into unalloyed tragedy is a knife to the heart. That’s as close to a spoiler as I’ll come. I love everything about The Florida Project. I love each and every glorious shot of a tacky Orlando novelty shop front. It is one of the five or six best new movies I’ve seen since I started writing this blog. A lot has been made of this movie’s nuanced portrayal of impoverished people, and with good reason. The film’s adult protagonist, Halley, faces impossible alternatives throughout. There’s no way to watch this movie without feeling the pressure she’s under — probably with a lot more sweat on your brow than she’s got. There’s a moment in a scene with Willem Dafoe and Caleb Landry Jones, the two recognizable actors in the film, that I suspect is meant to serve as a Rosetta Stone: Jones’ character Jack finds bedbugs in his father Bobby’s motel. Jack berates Bobby for blowing a bunch of money on purple paint to add an air of whimsy to the motel’s exterior when what he really needs is an exterminator. But think of this from Bobby’s perspective: if that coat of purple paint pulls in a few families of tourists per week, he’s that much closer to keeping the motel in business. It’s a counterintuitive decision that might make it seem like Bobby doesn’t have his priorities straight. But when you’re scraping by, priorities look different. It’s the same with Halley. Stealing a meal from a hotel buffet might not seem like a good idea from where you’re sitting. But when you’ve got no money and a daughter to feed, maybe it’s worth the risk. The Florida Project is perfect. It is toe-to-toe with Get Out in the 2017 sweepstakes that are now long over. Pick of the week.

Wild Strawberries — The Cinémathèque is doing a whole series to celebrate the 100th anniversary of Ingmar Bergman’s birth. As a programmer explained before this screening, they couldn’t bring themselves to start the series with The Seventh Seal. It’s just too overexposed. Wild Strawberries, then: the best-known Bergman film that hasn’t been subjected to ruthless parody. I hadn’t seen it before. I hadn’t seen anything by Bergmann except The Seventh Seal, which pleasantly shocked me with its balance between thinky darkness and complete siliness. But Wild Strawberries is an altogether more successful integration of heavy, existential themes into a compelling narrative. I think it’s probably the better of the two movies. It’s a story about an old doctor named Isak Borg, and the impact he’s made on the world and the people around him. The key connection that we as an audience have to that impact is Marianne, Isak’s daughter-in-law. Marianne has had to spend her life in love with Isak’s son Evald: a man who, like his father, is constantly on the verge of giving up on life altogether. I daresay that for all of the film’s brilliant ideas — and for all the brilliance of Victor Sjöström’s performance as Isak — Marianne is the movie’s masterstroke. It is Marianne that prevents Wild Strawberries from being a movie primarily about depressive, brilliant men and their problems. Because in the one or two heartbreaking scenes where we really come to know something about her relationship with Evald, the film’s focus shifts definitively towards the way that those men affect the world around them, rather than the way the world around them affects those men. It’s a beautiful meditation on family. For all its darkness and occasional cynicism, Wild Strawberries is deeply cathartic. I liked it a whole lot.

A Wrinkle in Time — It’s a mixed bag. On one hand, it takes a powder on Madeleine L’Engle’s most ambitious ideas: the explanation of how a tesseract works; the segment on a two-dimensional planet. On the other, it’s a family-friendly blockbuster with a distinctive aesthetic and some compositions worthy of Oscar winner Roger Deakins. (I’m going to call him that from now on, every time I mention him. I’m just so happy for him.) For every stroke of brilliance (i.e. the casting of Reese Witherspoon, Mindy Kaling and GIGANTIC SPACE OPRAH as the Mrs. Ws), there is a disappointment that feels like a betrayal of the source material (i.e. the casting of Levi Miller, The Most Boring Teen In The World, as Calvin). The movie’s primary theme is “love yourself,” which is a deeply valuable theme — especially considering that it is a film for children, starring a young black woman who comes to terms with herself over the course of the film. But what it gains over the book in heart, it loses in brains. L’Engle’s novel contains a borderline nonsensical but deeply compelling metaphysical matrix that is almost entirely glossed over here. That disappoints me. What it all comes down to is this: Ava DuVernay is a master of her craft, but she’s working from a flawed script on a project for a massive corporate juggernaut. It’s worth seeing, and I hope it makes a pile of money, because it’s great when taken on its own merits. But as an adaptation, it’s a bit wanting.

Moon — I don’t know why I wanted to watch this. Certainly it has nothing to do with Sam Rockwell’s recent Oscar win, which I am actually a bit miffed about. But it’s the kind of movie I wish we saw more of: a small, interesting science fiction movie, in the vein of Ex Machina, but six years before. Its actual story is less interesting than it might be: in a sense it reduces Blade Runner to a high concept story about human replication. But Rockwell’s performance as two different facets of the same person, and the excellent, understated screenplay lift it above its premise. I enjoyed this a lot. It’s on Canadian Netflix. Check it out.

Television

Lady Dynamite: “Pilot” — Wow, this is weird. I love Maria Bamford, but this is so completely bonkers that I didn’t laugh much. I’m told I should stick it out. I may. We’ll see.

Literature, etc.

Kris Straub: Broodhollow, Book 2 — Immeasurably better than the first book. Where the first arc of Broodhollow deals with the question of whether or not everything crazy going in is happening in the protagonist’s head, this book dives into the much less travelled idea of a whole town forgetting its traumas. It’s something that Stephen King dealt with in It, but Broodhollow has another take. The masterstroke here is the introduction of a second town society. Where the first was an all-male Eyes Wide Shut riff with absolutely no idea what’s going on in Broodhollow, the second is a ladies auxiliary that, in spite of its innocuous trappings, knows more about Broodhollow’s threats than anybody else. I really enjoyed this, and I’m appalled at the cliffhanger it finished in. I hope Kris Straub is hard at work on book three.

Jorge Luis Borges: “German Literature in the Age of Bach” — I wandered into The Paper Hound this week, a Vancouver bookshop that I particularly like. Just go in and browse, I said to myself. Maybe pick up something light, I said to myself. Six pounds of books later, I have begun reading the collected nonfiction of Jorge Luis Borges in this completely arbitrary location. I’m not sure what exactly precipitated Borges’ lecture on this topic, but I like to think that somebody asked him to speak about this topic, and he discovered for himself as a result of this that there was virtually no interesting literature to speak of in Germany while Bach was composing his masterpieces. Still, being Borges, he does his due diligence and reflects on the reasons for this, and also muses on the virtues of some of the literature from this period that has perhaps not aged especially well. Also, he passingly mentions an idea of Paul Valéry’s that it might be interesting to write a literary history without proper names. I share a birthday with Valéry. Maybe one of these days I should do something like that. A music history podcast, perhaps.

Music

Yes: Tales from Topographic Oceans — This was my favourite album from the ages of about 12 to 20. It has always pained me slightly to demote something that was an all-time favourite to a lower rung on the ladder. But these days, the top of my list is populated by albums I discovered a little later (e.g. Kate Bush’s Hounds of Love), albums that grew on me over the course of many years (e.g. Brian Eno’s Another Green World) and one album that has lost none of its lustre since I first heard it as an impressionable teenager (Jethro Tull’s Thick as a Brick). Even among albums by Yes, my first favourite band, I’m not sure that Topographic would come out on top these days. For all its flaws, Fragile has the moments that most define what I continue to love about the band: the drama; the casual virtuosity; the personalities of five individuals all emerging from ensemble compositions. But listening through Topographic again for the first time in years did genuinely some strengths that are immutable. Its second side, “The Remembering” was always, and remains my favourite. With its delicate Mellotron and jangly acoustic moments, it is a cosmic folk song in memory of childhood. It isn’t even one of the most popular songs on this album, but I still think it’s one of the crowning glories of progressive rock. Likewise for “Ritual,” the one track from Topographic to become a regular live favourite. Having learned and grown since I last heard this, I now have a bit of trouble with the line “we love when we play.” Throughout this album, and to some extent his entire career, Jon Anderson comes off as a child prophet. If you can’t accept him on his own terms he’ll alienate you right out of the genre. But I also feel like anybody who can’t accept him must be harbouring a particularly toxic kind of cynicism, because the man just has so much love for the world. So much love. I’ve always had a soft spot for “The Ancient,” probably the most difficult of the album’s four tracks. The acoustic outro is a flat-out classic moment in the Yes corpus, but the Steve Howe freakout that leads up to it is no mere virtuoso display: it is a masterclass in how to generate tension with instruments. The one track that disappointed me upon returning to this album was the one that has perhaps become the fan favourite: “The Revealing Science of God.” It is structurally the closest thing on this album to the long tracks on the albums that bookend Topographic. Where “The Ancient” is a showcase for Howe, “Ritual” features lengthy solo spots for the rhythm section, and “The Remembering” (not quite the Rick Wakeman feature the liner notes make it out to be) channels an atmospheric side that the band does not generally foreground, “Revealing” is an attempt at an integrated full-band feature with internal symmetry and a dramatic arc unto itself. And in that respect, it doesn’t rise to the level of “Close to the Edge” or “The Gates of Delirium.” Still, this was like rediscovering an old friend. A final note: Apple Music does not have the Rhino remaster of the album that I grew up with, so I now understand why so many people complained about the sound quality. The unremastered digital files are abominable.

Tom Rogerson & Brian Eno: Finding Shore — Eno’s latest project is as a sideman to an improvisational pianist who is willing to allow Eno to twist his music about into an electrified finished product. That sounds like a role where Eno will thrive. And he does. This album begins with a collection of electronic plinks that do not identifiably come from a piano. But about a minute and a half into the album, the origins of the sound make themselves obvious as the piano crashes in. This entire album is an absolutely gorgeous collaboration, and one of Eno’s most worthwhile projects in some time. Much of the credit must clearly go to Rogerson, who is the actual composer of this music. Listen to this. Do.

Brian Eno, Daniel Lanois & Roger Eno: Apollo: Atmospheres & Soundtracks — I needed something more to listen to while I was writing up this week’s reviews, so I revisited another old favourite. This is one of Eno’s finest ambient albums, perhaps only behind Music for Airports and On Land. It’s certainly best known for “An Ending (Ascent),” which is lovely. But the best moments are the ones that most clearly feature Daniel Lanois’ appalachian-tinged pedal steel. Lanois’ “Silver Morning” may be my favourite on the album. Essential Eno.

Podcasts

Pop Culture Happy Hour catch-up —  Their Oscars coverage is always the most fun in the business. Audie Cornish doing the Regrettable Television Pop Quiz is a sure bet. Their Wrinkle in Time take turned out to be about right, when you take the average of the whole panel. Will watch: Annihilation. Won’t watch: Queer Eye.

On the Media: “Face the Racist Nation” & “Everything You Love Will Burn” — These two episodes on the alt-right in collaboration with The Guardian are worth hearing, though I feel like I’ve heard these arguments advanced in a less consolidated fashion on a combination of previous episodes of OTM.

The Kitchen Sisters Present: “Guillermo Cabrera Infante: Memories of an Invented City” — This old story about Cuba’s most influential author in a generation is a lovely thing. It has plenty of his personality, interspersed with vital readings from his work and enough context to make sense of it all.

The Hilarious World of Depression: “Highlights From A Hilarious Night of Depression” — This is great. Come for the comedy, stay for the genuine insights into mental illness that come from doing a whole season of interviews with people who suffer from it.

Reply All: “Trust the Process” & “The World’s Most Expensive Free Watch” — Two perfectly fine episodes of a great show. One has Alex Blumberg explaining sports to the hosts, which is a pleasant switcheroo. And we get Gene Demby as a bonus, so that’s fun. The other is about how even internet scamming is a scam. So that’s really distressing. Nice stuff.

This is Love: Episodes 1-4 — I love Criminal, but I might love that team’s new show even more. The first episode of this has everything you need to know about it. The guest is nobody of particular note, but he’s got a love story that’s worth hearing. Subsequent guests have more unusual tales to tell, i.e. reuniting a grey whale with its mother and founding one of the most acclaimed restaurants in America to pay tribute to one’s parents. But all of these episodes are completely compelling. A new favourite. Pick of the week.

Criminal: “The Manual” & “Willie Bosket” — “The Manual” is appalling in a good way: a story of how the first amendment is sometimes considered more important than human life. “Willie Bosket” is fine: a story of a particularly rough juvenile case. Both of these stories have far-reaching legal implications. Listen for that alone.

It’s Been a Minute: “‘Black Panther’ with Glen Weldon and Evan Narcisse” — I’ve heard and read enough about Black Panther now. But hearing noted comics expert Glen Weldon and actual comics writer Evan Narcisse bounce ideas off of each other is great fun.

WTF with Marc Maron: “Jennifer Lawrence” — This is an awkward interview. Lawrence has become self-conscious about her guilelessness with the media, and Maron’s show is the worst place to find yourself if that is what you’re currently self-conscious about. But they seem to like each other in spite of it. I dunno, it’s okay.

Code Switch catch-up — Definitely check out the immigration status episode. Three members of the same family, with three different immigration statuses. Complications ensue.

Omnibus (week of July 2, 2017)

Greetings! Here’s the latest radio segment. I’m at 27:27. It didn’t occur to me until sometime after we’d taped it that a theme connecting the three things I talk about could be “uncharted territory” — both in the sense that all of these things come from media that I hadn’t covered on the show yet (movies, games and podcasts) and in the sense that each one of them deals with characters who are attempting the seemingly impossible. I dunno how I missed that. Anyway, it’s out there now.

29 reviews.

Live Events

The Winter’s Tale (Bard on the Beach) — Far and away the better of the two mainstage productions at Bard this year. This production has one big setpiece at the end of the first act, and aside from that they just do the play. Which is all I want out of life. The production itself doesn’t really have its own premise: it’s just sort of set in a pretty-looking, abstractly ahistorical Sicily and Bohemia. The story plays out of its own devices. The setpiece, by the way, is “exit, pursued by a bear.” Since this is the only Shakespeare play whose best-known quote is a stage direction, that moment has to pay off. We paid to see a bear, and a man exiting pursued by it. This production employs a wonderful and impressively large puppet for the bear. Aside from a couple of adorable, simpler, sheep puppets, that’s the only bit of complex stagecraft employed here. Lovely of director Dean Paul Gibson to just let the rest of the play exist. The Winter’s Tale is the first Shakespeare play I’ve seen on stage or film without having read the script first. Frankly, its unfamiliarity to all but the most enthusiastic Shakespeareans is probably part of what makes The Winter’s Tale easy to stage straightforwardly. Save for the bear, there are no memes in this play. No “to be or not to be,” or “double, double, toil and trouble,” or even “O, that way madness lies.” Nothing to emphasize or undercut, in anticipation of the audience’s familiarity. I feel like this was a good introduction to the play, and I enjoyed the story quite a lot in spite of certain structural oddities. Namely, the first half of this is straightforwardly a tragedy and the second half is straightforwardly a comedy. The comedic half took the edge in this production because Bard’s company has an excellent roster of clowns, with Ben Elliot especially standing out as Autolycus the pickpocket. But the first half packed enough clout that by the end of the play, I hadn’t forgotten the tragedies that befell the characters in the early story. So, when the story ends on the note of “a sad tale’s best for winter” — which a casual perusal of the script just now finds not to be the case in Shakespeare’s original — it feels like an earned moment. I totally enjoyed this. Now to read the play.

Movies

The Beguiled — So far, this is second only to Get Out in my personal 2017 movie sweepstakes. Sofia Coppola’s rethink of an evidently somewhat dated Clint Eastwood vehicle from the ‘70s is a brilliantly twisted exploration of what happens when toxic masculinity meets the more discreet consequences of patriarchy. But that makes it sound deathly boring, which it isn’t. Rather, it’s a tense and thrilling coiled snake of a movie with uniformly wonderful performances and some of the most beautifully composed shots outside of Wes Anderson’s filmography. The premise is simple: a seminary school full of women loyal to the south is shaken by the arrival of a rather dashing but grievously injured Union soldier at their doorstep. Nicole Kidman particularly stands out as the matriarch of the seminary: the decision maker who is wise enough to be slightly more resistant to the northerner’s charms than her younger charges, but who is nonetheless afflicted with the loneliness of war. But Colin Farrell is a match for her. He never allows his charming soldier character to seem like a deliberate temptor or sly devil. Rather, he behaves politely and graciously, and efficiently manipulates each of the women around him differently. Coppola’s best decision in the whole movie is to never have the camera cast suspicion on Farrell, nor to allow his performance to attract suspicion intentionally. Instead, a sceptical audience will come to distrust him simply because of the fraught nature of this setup. And then, about halfway through, when a cataclysmic event changes the movie drastically, we’re made to think differently of him once again. Never once does the movie lose sight of the fact that this man has just come from a brutal, traumatizing war. And never once does it lose sight of the fact that the women in it are deeply subject to social iniquity. The exploration of the resulting power dynamic in the film’s third act is totally riveting. And it contains maybe the single most jaw-dropping smash cut to black since The SopranosPick of the week.

Music

Fairport Convention: Liege & Lief — I’ve been really enjoying the tracks from the upcoming Olivia Chaney/Decemberists collaboration, which have been slowly coming out over the past months. (The record is due out this week.) So I figured I should finally get informed about the British folk revival that inspired it and the bulk of the Decemberists catalogue. I’ve been aware of Fairport Convention, Steeleye Span, the Pentangle and all the rest of them for ages, largely because Jethro Tull flitted on the edges of that scene. And I’ve heard assorted songs of all of these bands. But never a full album, that I can remember. So, Liege & Lief, the most acclaimed of the bunch. I have to say I’m underwhelmed. There’s a lot of great stuff on this, but there’s nothing that reaches out and grabs me the way that the tracks from the Offa Rex record have, or even the way that the select tracks from the Pentangle have. This is a clear case where I need to hear more of this sort of thing before I can really appreciate this album specifically. So, I’ll do that, and report back then.

Literature, etc.

John Hermann: “Why the Far Right Wants to be the New ‘Alternative’ Culture” — A persuasive though fairly basic account of the appeal of the specious “alternative” label to Trump supporters and assorted Nazis, from my favourite analyst of the internet. Hermann has toned his voice down since moving from the Awl to the Times, but he’s still always worth reading.

Jorge Luis Borges: “A Survey of the Works of Herbert Quain” — Much like “The Approach to Al Mu’tasim,” this is a quite simple iteration of Borges’s central notion that a story can entail an essay about fictional books. One of the things that I love most about him is that he knows his strengths and he knows his voice. Borges is a genius for premises, but he knows that if he were to actually try and write any of the books he describes here, they would be subject to the same muted and occasionally negative criticisms that he levels on them. Far better to simply state the premises outright. If the central idea is the whole point, why belabour it?

James Errington: Centuries of Sound — Errington’s blog was featured on the A.V. Club this week, and I’m delighted by this. It feels like old school, pre-social internet fare, except with impressive professionalism. Basically, Errington is making a mixtape for every year of recorded sound. He’s in the nearly prehistoric phase of the project at the moment, dealing with Edison phonographs and all that. But he started out with a two-hour mix of music and sound from 2016 as a proof-of-concept, and boy what a thing it is. If you care to relive the trauma of that year, with a newfound awareness of just how inseparable from that context all of the music is, I highly recommend it. I’ll be making an effort to catch up on this so that I can follow Errington’s progress as he goes along.

Harold Bloom: Shakespeare: The Invention of the Human — I revisit this every time I partake in a new Shakespeare play. Or so I thought, but as it turns out I never read the entry on Cymbeline, which I rectified this week before turning to his chapter on The Winter’s Tale, which is genuinely new to me. Bloom’s take on modern literary criticism and theatre has its obvious problems, but I am an absolute sucker for his readings of the texts themselves, and particularly of the way he never fails to see the whole future of culture in Shakespeare. He even manages to hear a magnificent insight in the mouth of one of Cymbeline’s least memorable characters: “Through Posthumus, I hear Shakespeare observing that the action of our lives is lived for us, and that the desperate best we can do is to accept (“keep”) what happens as if we performed it, if but for ironic sympathy with ourselves. It is another of those uncanny recognitions in which Shakespeare is already beyond Nietzsche.” I’m also quite amused by Bloom’s suggestion that the openly comical second half of The Winter’s Tale was designed specifically to infuriate the trite moralizer Ben Johnson. Indeed Bloom, usually a deeply melancholy critic, never seems happier than when he’s writing about the great knave of The Winter’s Tale, Autolycus. I’ve now read enough Bloom that I’ve started to regard him as a literary character, and though he is a problematical one (to borrow his preferred form of that word), I seem to wish him happiness nonetheless. I continue to stubbornly find him essential reading on Shakespeare.

Alex Ross: “The Occult Roots of Modernism” — “As an orchestra plays Wagner, the women fall to worshipping a giant phallus.” Man oh man, there was something in the water in the late 19th century. This is a wonderful feature about Joséphin Péladan, the occult lunatic/charlatan who took Paris by storm and inspired and collaborated with artists from Eric Satie to Ferdinand Hodler. He also wrote novels, one of which contains the scenario quoted above. Ross’s feature is a great reminder that beneath the supposed rationality and distance of the modernists there lay an irreducible weirdness of a spiritual sort. I’m particularly gratified to see Ross contextualize Schoenberg in this light. People often characterize him as a chilly mathematician, at least after he abandoned his passionate atonal idiom for the twelve-tone method. But numbers meant something different to Schoenberg than they do to the rest of us: he was a devotee of Kabbalistic number symbolism. It’s that sort of thing that fascinates me so much about the art of this period.

Games

King of Dragon Pass — Okay, I’m done my first playthrough. It ended badly. And, more out of frustration than disappointment, I think I may not return to this. Given that the game is almost entirely text-based, I thought I could expect something substantially more story driven than this actually is. The truth is that it’s much more a simulation/resource management game than an interactive story. There is a story, of course, and there are even characters who behave consistently. But in general, the choices you make are not a matter of where you want the narrative to go, but rather what’s best to stay afloat. Contrast this with Sunless Sea, for which this is a clear forerunner. In Sunless Sea, there are storylines to pursue, and these are fully integrated with the resource management and stat boosting tasks that are that game’s form of “progress.” And it goes without saying that Sunless Sea has better writing and worldbuilding, but credit where it’s due: King of Dragon Pass does a more than passable pulp fantasy novel impression. I realize that I frequently make this same perverse complaint, where I play a game and get frustrated by the “game” elements. This is why I suspect I’ll always feel like a tourist in this medium. It is not where I live. But that’s fine. Also, I think I got this for a dollar. So, no harm done. I hear The Dream Machine’s finally finished. That sounds like it’ll suit my mood a bit better.

Podcasts

The Truth/Theory of Everything: “Influencers” — The issue I often have with The Truth’s stories is that they’re just so on the nose. But Benjamen Walker’s particular kind of on the nose is a kind that I like a lot. This is a really fun story that touches not just on the president’s acrimony towards the media, but also on the ludicrousness of the idea that social follower counts connote influence. It’s also about the fact that the most well-intentioned in our society are often the least able to ascertain what’s really going on. A worthy crossover.

It’s Been A Minute: “They’re Still Here” — Two things can be true: Sam Sanders and his panelists are wonderful, and this show is overproduced. I don’t tune into podcasts for a parade of segments. I’m entirely comfortable with conversations dragging on a bit, but I’m not fond of the whiplash that the format introduces into this show. This is the point where I’ll duck out of this for a while and wait for it to find its footing. Still, it’s promising.

Arts and Ideas: “Canada 150: Sydney Newman and British TV; Vahni Capildeo; Shubbak Festival 2017” — This is well worthwhile for the Sydney Newman segment alone. What I love about this is that without necessarily meaning to, the BBC has broadcast the perfect Canadian arts story here. They’re probably just trying to localize Canada’s 150th as something with relevance to British audiences, so they chose a Canadian figure with a huge influence on British television. But what they’ve actually done is tell an iconically British story about the BBC itself that’s all about how an exodus of Canadian talent to the U.K. helped define British television, while completely impoverishing Canada itself of similar talent. The story of Sydney Newman is the story of the rise of British television and the perpetual shittiness of Canadian television. Happy Canada Day.

Reply All: “Friends and Blasphemers” — P.J. Vogt tells the story of how Russia killed LiveJournal, and Alex Goldman is mortified to reveal the writings of his 21-year-old self on that platform. Good thing I don’t ever write anything on the internet to be embarrassed of later.

Imaginary Worlds: “World War EVE” — This is a fun story about a world I knew nothing about. It also manages to say what’s specifically extraordinary about EVE as a virtual world, distinct from others like World of Warcraft. (I love the idea that EVE has a whole in-universe news reporting infrastructure.) Which is all to say that there’s just enough explanation in this for a neophyte. I’m consistently impressed by Eric Molinsky’s ability to walk this fine line. One of the key things that makes this show work is the extent to which he’s a curious semi-outsider to the cultures he explores. He assumes a position that isn’t so far outside of the culture that he’s required to offer condescending explanations, but he also manages not to alienate me by assuming a higher calibre of specialized geek knowledge than I have.  

Homecoming: “Season Two: Coming Soon” — “Hum three ascending notes into your phone” is what the first season of this was missing. Just, some weirdness to detract from the portentousness of it all. Also, Chris Gethard’s in it now. Looking forward.

What Trump Can Teach Us About Con Law: “The Spending Clause” — One of the most consistently fascinating things about the history of law is how tiny, seemingly inane things have huge consequences later on. Like weak beer, for instance. This is good stuff.

On The Media: “The American people elected a fighter” — Sometimes the only thing that keeps me going through the news cycle of the Trump era is Bob Garfield’s essays about what a catastrophe it all is. This is a good one.

Pop Culture Happy Hour: “Pop Culture Summer Stories And ‘Playing House’” — The Playing House segment contains a frank discussion of these writers’ decision to deal with an illness that affected their lives in their show. That’s great, but the real reason to hear this is more live stuff. The summer stories segment features Glen Weldon at his most curmudgeonly and Stephen Thompson as his most adorable.

On The Media: “What Ails America” — This starts with a segment where Stephen Marche explains how Canada is better than the U.S. because we’re less patriotic up here. It’s a nice idea, and I’d certainly love to live in that version of Canada, but he’s wrong and we don’t. Canadian patriotism is a bit of a joke, sure. But it does exist. We don’t know what we’re celebrating, but we sure love to go through the motions. And since we’re so uncertain about what patriotism is supposed to look like, we look abroad (mostly south) for cues. And today, Canadian conservatives are gradually cottoning on to the Trump/UKIP/National Front model of patriotism, i.e. nativism. And yet we’re still getting this barrage of American stories about how this is not happening in Canada, when it is. Marche cites the gigantic defeat of Kellie Leitch in the Conservative leadership race as supporting evidence for his insufferable neoliberal smugness. But it’s not just Kellie Leitch up here. It’s Stephen Harper’s divisive campaign in the last election, it’s the clowns in Alberta’s Wildrose Party (and whatever they’re about to morph into), and it’s the Rebel: a Canadian version of Breitbart that has a small readership but that we should ignore at our peril. Canada is not a liberal paradise. It is slow-motion America. But it’s not Bob Garfield’s fault that he doesn’t know that; he doesn’t live here. I dunno what Marche’s excuse is.

StartUp: “Ask Alex” — This is most notable for featuring Alex Blumberg’s take on the upcoming ABC sitcom where he’ll be played by Zach Braff. Evidently, he and Gimlet have no input into this and will not see much money from it because they made a mistake that they’ll not be making again. Still, I can’t help but think he must be happy he can say he had no input. The trailer for Alex, Inc. looks absolutely dire. It looks like a gag gift somebody really rich made for Blumberg’s birthday.

Mogul: “Rice Pilaf” — The story of the signing of Warren G and the resulting confrontation between Chris Lighty and Suge Knight. Mogul is completely thrilling. I won’t describe this, I’ll just say go listen from the beginning. This is second only to S-Town in my 2017 podcast sweepstakes thus far. Pick of the week.

The Memory Palace: “The Taking of Tom Sawyer’s Island” — Nate DiMeo tells the story of a left-wing youth protest at Disneyland, and manages not to undermine their correctness when he points out that they were also ridiculous and willfully misunderstanding the point of Disneyland. He’s especially good at evoking both the wonder and the extreme creepiness of Disneyland itself. Lovely stuff.

The Turnaround: “Ira Glass” — This is Jesse Thorn interviewing Ira Glass about interviewing. That’s obviously going to be worthwhile for those of us interested in that craft. But there’s one especially great moment in it that got me thinking. Thorn and Glass are talking about Terry Gross, when Thorn accidentally draws the interview to a momentary halt by starting to exposit about something Glass said about Gross and how it reflects on his own practice on This American Life. Glass’s whole project, Thorn says, is trying to get his guests to offer examples. They’ll want to answer in an intellectual, theoretical way, and Glass tries to pull examples out of them so that what they say can fit as part of a story. Thorn finishes his analysis, and Glass is simply left with nothing to say. He comments, jokingly, that he has no illustrative example to give, because Thorn has just analyzed the situation with total accuracy and tied it up with a nice little bow. Thorn’s solo trip is possibly the closest that this episode gets to defining what’s great about This American Life. The rest of it is brilliant at exposing elements of how it is made, but that is a completely different question. And that leads me to a conclusion that I’ve been threatening to reach for some time: interviewing creative people is not actually a very good way to try and understand creative products. (I will henceforth use the term “art,” though I suspect Ira Glass would be uncomfortable hearing This American Life referred to as such. However, his role in this interview, as an “artist” who is creating something is exactly analogous to any interview with a songwriter, filmmaker, etc.) I am an arts journalist myself. I don’t do a lot of interviewing these days, but when I did I always found myself wanting to do the thing that Thorn does in this interview that leaves Glass with nothing more to say. If you’ve heard or seen a lot of a given artist’s work and you’re a reasonably clever interpreter of art, as anybody who gets a job as a radio host should be (and Thorn is), then you already know what the artist wants to communicate. The most valuable thing you can do, in my view, is to unspool the meaning that you derive from the art itself. Art is condensed meaning. A journalist’s job should be to un-condense it. As an interviewer you can ask an artist what they mean by their art, but they’re not obligated to tell you, nor are they guaranteed to even know. You can also just offer up your analysis freely during the course of the interviewer, but the only question that could really be leading towards is “do you agree with that?” which is not really a question at all. You’re plunging headlong towards that exact same moment Thorn had with Glass. I can’t tell you how many times I’ve been faced with putting together an interview piece where the format precluded me from offering any insight of my own, even though the artist I interviewed had nothing to say. Granted, this is at least partially a result of me not being a very good interviewer. But in my defence, what interests me above all else is what art means. And I don’t think that the fact I can’t get at that in an interview is entirely my fault, because I’ve never heard anybody else do it either. I’ve heard plenty of great interviews that get into the process by which art is produced or the human stories that lead artists to make it. These are both much more suitable ground to cover in interviews. Song Exploder is the gold standard for process stories about art. And a number of interviewers including Marc Maron, Terry Gross and, yes, Jesse Thorn are very skilled at getting artists to talk about the lives that led them to make what they make. But those stories don’t get me any closer to understanding art: they make me understand people. They’re not arts stories, really; they’re just normal human interest stories. And honestly, I’m not convinced that famous artists are actually more interesting or better storytellers than any other random people. I’m not sure that WTF would be any worse a show if Maron just interviewed whoever happened to be walking past his garage instead of comics and musicians and the president. It would definitely be less popular. And that, ultimately, is what I suspect the real motive is for most arts journalists to want to do interviews rather than focussing on analysis: this is an industry that places the ultimate premium on the “get.” If you can have a big name on your show, or get a big profile in your magazine — maybe shoot a bit of video that’ll autoplay as people scroll down their feeds and pull in those coveted attention economy eyeballs — people will take notice. This is fine, but it doesn’t really contribute to the discourse in my view. And those interviews are boring as often as they’re exciting. This is why I sometimes skip ahead to the ending of episodes of Bullseye, the “Outshot” segment where Thorn just takes a moment to exposit on something he likes. These are always great because Thorn is clever and funny and has great taste, and I’d rather hear him be that way without anybody else in the room to distract from it. So yeah, this is probably a really idiosyncratic take, but I genuinely think we should have fewer arts interviews in the world. I don’t mean to denigrate the entire practice, because as I’ve said I find some value in much of it. (And yes, I’m acutely aware that I’m currently a regular contributor to a regional radio show that mostly consists of interviews with artists. But I’m safe in that case, because I genuinely believe that show is brilliant — in large part because it isn’t about the “get,” it’s about the stories.) I think people who interview artists as their main bread and butter shouldn’t necessarily stop in their tracks, but they should have a long, hard think about why it’s a worthy use of their time. I realize this has not been a review of this episode. If anything, it’s a review of Jesse Thorn’s other show, Bullseye. So I’ll quickly say that I think The Turnaround is a fantastic idea, because it does focus on craft and process so much. And this was a great first episode that obviously got me thinking about some stuff.

Mogul: Cameos and exclusives — This week we got three tiny episodes of Mogul, which are all a lot of fun. One featuring Maseo is pretty straightforward, but it’s fun to hear him and Reggie Ossé talk about clothes. The Fat Joe exclusive has him telling a great story about getting shot. But the extra bit of Warren G’s interview is the highlight of the three, because it involves Chris Lighty locating Warren’s missing sister.

Arts and Ideas: “Thinking: Food” — This is virtuoso radio. By that, I mean Matthew Sweet makes a prawn cocktail while interviewing three writers. This is really what I love about the BBC. Sweet is a bubbly and approachable host who is nonetheless not afraid to assume a certain amount of familiarity on the listener’s part with the works of David Hume. This is the only interview about food that you’re likely to hear this week that contains the sentiment “we can talk about the moral element in a bit, but I do want to stick with aesthetics for now…”

99% Invisible: “The Pool and the Stream” — A globetrotting design story about the kidney-shaped swimming pool from Avery Trufelman. Very nice stuff. The script is really good in this one. I love the way it ties the opening back in at the end.

On the Media: “It’s the End of the World and We Know It” & “Apocalypse, Now” — Bob Garfield is away this week so we get to step away from the tornado for a while and let Brooke Gladstone do some big thinking for us. The main episode is about science fiction’s recent turn towards intense pessimism in the age of climate change. It’s depressing, but compelling. And there’s a great extra in the feed right before it featuring Gladstone’s interview with Ben Winters, whose books deal with a more sudden but less deniable threat to humanity. Both are worth your time.

Pop Culture Happy Hour: “Baby Driver and When Auteurs Meet Film Franchises” — This is as essential as this show gets. The live segment about auteurs and franchises features Glen Weldon at his very very best, and Stephen Thompson trying in a wonderful way to follow him. I’ve got to see Baby Driver stat.

Code Switch: “The Supreme Court Decides In Favor Of A Racial Slur… Now What?” — This is crazy. It’s the story of a guy who tried to register his band’s name as a trademark, but it was denied because it’s a racial slur. (It was a reclamation effort, but good god, why trademark it?) So he appealed all the way to the Supreme Court. And he won, so now people can trademark racial slurs. Because there is never any middle ground. Ugh.

Omnibus (week of June 25, 2017)

Greetings! A normal week. 18 reviews.

Television

Twin Peaks: The Return: Part 8 — I’m willing to entertain the notion that this is the strangest, most obscure thing ever to be seen on television by an audience that exceeds the low dozens. This is the hour of television in which David Lynch reveals himself as the Black Lodge doppelganger of Terrence Malick. It is the second story I’ve seen this year that frames the origins of an iconic, totemic evil from a beloved old franchise as a consequence of human technological progress. But unlike Alien: Covenant, Lynch’s account of BOB’s birth in the crucible of the Manhattan Project is expressed through lyrical, abstract, largely wordless filmmaking. This helps to mitigate the potentially prosaic quality of the plot point that goes: “BOB is an evil spirit summoned by a nuclear bomb.” In practice, it doesn’t seem prosaic at all. Instead of focussing on the narrative, the cause and effect, Lynch tells us the story with reference to its abstract emotional quality. This type of filmmaking talks past our rational brains and communicates a sort of meaning to us that is ineffable. It works in a similar way to instrumental music in that way, and indeed, it gets a significant assist from Penderecki’s Threnody for the Victims of Hiroshima. That piece of music is connected to nuclear weapons by its title, but the music itself wasn’t written with any such thing in mind. It was meant to be an abstract, academic piece of music. Regardless, it seemed from the first to elicit a muted version of our universal human response to inconceivable horror. So, title or none, it is music with the same goal as Lynch’s Stan Brakhage-like terror painting in this episode. So, instead of simply expressing a new piece of continuity in the usual way, Lynch’s approach offers a sense of the horror and disorientation of a world that’s recently been made aware of a new outer limit in human ruthlessness. Given that, it seems totally natural that BOB should arise from this. Pretty much any other approach would have seemed dumb and overwrought. Like Alien: Covenant. But in bypassing rationality entirely and speaking to something more primal in us, Lynch has deepened the world of Twin Peaks more here than in any other single episode of the show — possibly including the one that introduces the Red Room in the first place. Pick of the week.

Doctor Who: “The Doctor Falls” — A more than serviceable finale, though one that I feel works better on a scene-by-scene basis than it does all-in-all. I’ve said before that I like Moffat best in “big idea” mode, and he got most of that stuff out of the way last week with the time differential stuff. But what’s left to do is the emotional labour of a season ending, and this manages that just fine. Still, two characters overshadow the Doctor’s story here. The first, obviously, is Bill. Her arc from Cyberman conversion through her departure from the series (I think?) is the highlight here. I’m particularly fond of the mirror scene, which Pearl Mackie plays brilliantly. Also, this is the second companion departure in a row that feels like a spinoff waiting to happen — and a pretty killer crossover that would be! Bill and Heather the water creatures meet Clara and Ashildr the immortals in a diner-shaped TARDIS. Somebody write that. The other highlight is the two Masters, and who knows how that’s going to turn out. These are self-evidently the best (Michelle Gomez) and second-best (John Simm) renditions of this character the series has ever managed, and I’m delighted to have seen them together. I do hope Gomez isn’t finished with the role yet, but it would be a good way to go out. Also interesting how pigheaded misogyny is the Simm Master’s new calling card. Perhaps when he was last on this show, the possibility of such a blatant sexist being elected to public office seemed a bit of a hard sell. Oh, what a world. And as for the Doctor, this is to some extent a less impactful retread of Eleven’s last stand on Trenzalore, but we’ve still got a proper regeneration story to go. And what a corker it promises to be. I’ve been saying since the beginning of Peter Capaldi’s tenure that this is a Doctor who somebody needs to pair with the First Doctor. I always assumed that if it were to happen, it would be in a comic or a novel. But David Bradley has a history with playing William Hartnell, so why not playing his character as well? Part of me thinks it feels like a bit of a slight to Hartnell that he’s the only Doctor whose character has been played by not just one but two other actors. But the promise of what these two characters can do together is too much to pass up — especially since Moffat and his writers spent so much of the early part of this season focussing on the legacy of Doctor Who, right from 1963 on. This looks like it’ll be an opportunity for Moffat to say goodbye to the series with one more rumination on what it is at its core and why it’s great. This is now the primary reason I am looking forward to Christmas.

Movies

Lost in La Mancha — A bit of pop culture news you might have missed if you’re not me is that Terry Gilliam finally finished shooting The Man Who Killed Don Quixote, a movie he’s tried and failed to make eight times over the course of twenty years. I am super happy about this, especially since it will reunite Gilliam with his Brazil leading man Jonathan Pryce, who is only now the right age to play Quixote. I’m prepared to completely love this movie, but the truth is that I’m not sure it’ll surpass the story of Gilliam’s struggle to make it. (Many would say the same about Brazil, though I’m sure as hell not one of them.) Lost in La Mancha tells the story of Gilliam’s first attempt to film the movie in 2000, which was a complete disaster. The frequent reference points for what went wrong are big, obvious problems like unexpected noise from a nearby NATO base (F-16 target practise turns out to be very loud), a lead actor with a herniated disc, and a flash flood that nearly carried the crew’s equipment away. But the film documents a thousand tiny hurdles as well. The narrative doesn’t just play out in setpieces of acute misfortune — it plays out in the looks on the crew’s faces. If you like watching people’s expressions grow from contented to concerned to worried to frantic, then this is the film for you. There’s a costume designer who is particularly wonderful in this respect. You will know her when you see her. But in the middle of it all is Terry Gilliam. “How are we doing for time?” he asks his first assistant director. “Badly,” the first AD replies. “Good,” says Gilliam without missing a beat. It’s hard to judge the extent to which he’s deluding himself throughout this process. Certainly, he’s always aware that things aren’t working. But it’s Gilliam’s occasional sense of total imperiousness in the face of harsh realities that makes Lost in La Mancha so captivating to watch, if possibly through your fingers. And it’s that quality that may yet make this documentary an even better modern adaptation of Don Quixote than Gilliam’s own film will turn out to be.

Live events

Much Ado About Nothing (Bard on the Beach) — I always look forward to Bard on the Beach, because I am from a small town and I think it’s a damn miracle that it’s possible to see several productions of Shakespeare mounted by professionals every year. So, all snark must be weighed against a sense of perspective. However, I’ve seen theatre at Bard over the past four seasons that has run the gamut from extraordinary (Kim Collier’s multimedia saturated Hamlet, Anita Rochon’s refreshingly minimal Cymbeline) to garbage (an appalling massacre of Love’s Labour’s Lost with showtunes). More than that, though, they’ve been fine. They’ve been the sorts of productions that can run for a whole summer in a city of Vancouver’s size. This Much Ado is basically that. Set, completely arbitrarily, in an Italian movie studio in the 1950s, it evokes the glamour of black and white cinema in a way that mostly made me wish I were watching Joss Whedon’s wonderful film version from a few years back. The performances here are mostly good, but suffer from the expectation that the actors will deliver Shakespeare’s fiery repartée while also performing hackneyed physical comedy. The impulse to over-choreograph pays dividends in only one scene: the masked ball where Beatrice and Benedick pair their verbal fencing with dancing. That’s really the one scene where I got the sense that this production understood the point of this play, which is listening to two world-class wits spar with each other. There are other good scenes, but I mostly found this a pretty dull production of a comedy that I actually really like.

Literature, etc.

George Saunders: Lincoln in the Bardo (audiobook) — The last time I reviewed a full-cast audiobook, I basically reviewed it in two layers: the basic text of the book, and the performance layer on top of that. I don’t think I can do that with this one. The audiobook production of Lincoln in the Bardo feels like its own thing. The book isn’t written in the standard third-person or first-person voice, so its audiobook edition is going to work a bit differently. (The 166 narrators advertized on the cover art might have tipped you off.) This is a very stripped-down radio play, basically. And the performances feel like an integral part of the text — not an additional layer that you’ll endeavour to see past to the basic elements. The Nick Offerman/David Sedaris double act is reason enough to choose the audiobook over the paper book. The former gives as good a performance here as he does in film and television roles, and it’s fun to hear the latter reading somebody else’s work. I’ll leave discussion of the story for next week, by which time I’ll have heard all of it.

Geoff Edgers: “Why My Guitar Gently Weeps” — There are a few points of interest in this story, namely the numbers. It’s kind of amazing to read about the economic troubles of Guitar Centre, Gibson, and other businesses who rely on the fashionability of the guitar. But I actually think it’s mostly a pretty bad piece of journalism. Speaking as somebody who deals a lot with classical music, a musical tradition that is in a long-standing and seemingly permanent economic/identity tailspin, I have seen all of this before. The story that Edgers is telling is the story of the culture changing in a way that displeases the people who thrived in the previous version of the culture. And nothing that Edgers writes in this piece really indicates that he understands the extent to which the phenomenon whose demise he is mourning lines up with white supremacy and patriarchy. This is as true of the particular species of baby boomer/Gen X rock music that he’s discussing as it is of Western Art Music. (Say it like “WEST-un AHT mew-zik.”) That’s not to say that either kind of music is bad, or even badly intentioned! But things change, and they should. Insofar as the much vaunted “death of the guitar” is a real thing, it’s not by definition a bad thing. (And the best thing about this piece is the extent to which it uses sales figures to demonstrate that the guitar is materially less enticing to potential musicians today than it has been.) This is the same feeling I’ve had when I’ve read stories about how symphony orchestras are struggling to stay in business, opera companies are folding, and classical music audiences are aging. Of course they are. You can’t expect a generation’s music to outlive that generation and maintain the same popularity. Everything becomes a niche at some point. (Granted, the classical canon has managed to hang on an awfully long time. I’d say that has a lot to do with how it brands itself as “timeless.” Say what you will about the ineptitude of classical music’s modern-day branding professionals. Their late-19th century counterparts did their job so well that it stuck for a hundred years.) It’s almost surreal to read in Edgers’ piece about guitar classes where kids find a sense of community while learning about the great classics of the rock and roll repertory. (I find it intensely gratifying that “The Spirit of Radio” is among the lessons on offer.) This is the same sense of guardianship of a dying tradition that exists in the classical space. And frankly, more power to them for doing that. Classical and rock music are both traditions that deserve defending — but not with the end goal of retaining their cultural dominance. That ship has sailed, and good riddance to it. On the other hand, it’s worth checking out the Cut’s riposte to Edgers, which is simply a playlist of kickass recent guitar music being made by women. This is an altogether better argument than the one I’ve just made. Basically, “Brittany Howard, St. Vincent. Your argument is invalid.” Yes, fine. I’ll round out my metaphor by recommending you go listen to Caroline Shaw, Nicole Lizée and Jennifer Higdon.

Jorge Luis Borges: “The Approach to Al-Mu’tasim” — Solidly middle-of-the-pack by the standards of Borges’s Fictions collection, but that’s only to say it’s really great. This is the most straightforward iteration of Borges’ strategy of writing a critical essay about a fictional book that I’ve seen. It’s clever, but it doesn’t have the imperious ambition of “Tlön, Uqbar, Orbis Tertius” or “Pierre Menard, Author of the Quixote.”

Music

Felix Mendelssohn/Yannick Nézet-Séguin, Chamber Orchestra of Europe, RIAS Kammerchor: Symphonies 1-5 — I honestly rarely listen to new classical discs in their entirety, at least when they’re recordings of familiar rep like this. But it occurred to me that I might not actually have heard all of the Mendelssohn symphonies (the fact that I’m not sure ought to demonstrate what I think of a few of them), and I am in general favourably disposed towards YNS. So, why not binge them along with a few of my coworkers. The best thing that can be said about Nézet-Séguin is that he’s a clean windowpane: he gives you a clear picture of the music. And while I’ll always fall on the side of classical artists who offer personal, idiosyncratic interpretations, there’s value in the sort of artist who is a superb technician with a firm grasp of any given score, but who will defer to tradition when it comes to interpretation. (I’m not saying that’s what he’s doing here, because I don’t know most of this music well enough to judge. But I’ve heard a lot of his other recordings, and I think it’s a valid general characterization.) This is especially valuable when there’s a great orchestra involved, and up-to-the-minute recording techniques. Judging by YNS’s readings of the two symphonies I do know quite well (numbers three and four), this is a Mendelssohn set that could easily serve as a new standard for anybody wanting to familiarize themselves with these works. (I’d then send any such person straight to Leonard Bernstein’s “Scottish” with the Israel Philharmonic, to hear what it sounds like with a lot of energy.) All that said, the truth is that I’m unlikely to revisit any of these recordings aside from the two symphonies I know and love. Because my milage with Mendelssohn varies, and ultimately I only connect with him when he’s at his most joyful. Mendelssohn is that rare composer who can express actual joy, and not just contentedness, in a way that makes it contagious. And for that you should turn to the third and fourth symphonies, because the others are a bit serious and Beethovenesque. I’ll take actual Beethoven instead, thanks. In any case, this is a marvellous set that you should hear if you want to hear some good Mendelssohn. And you should check out the first movement of the “Italian” regardless of what you want.  

Podcasts

WTF with Marc Maron: “Jenji Kohan” — This is a lot more fun than the interview I heard with Kohan on Fresh Air a few years back. Maron gets her in anecdote mode, so we get to hear about her enthusiasm for dominoes and how her dad wrote David Bowie’s countermelody in the Bing Crosby Christmas special. It’s a fun chat, and she’s a genius.

Long Now: Seminars About Long-term Thinking: “James Gleick: Time Travel” — Thus returns one of the strangest things in my podcast subscriptions to make its 2017 debut on this blog. I have, in my limited experience, found the Long Now Foundation’s podcast seminars to be totally engrossing listening, bland title be damned. This talk by the author of the brilliantly titled book Time Travel: A History is no exception. Particularly wonderful is the idea that before the technological maelstrom of the early 20th century, the idea of time travel didn’t really exist. It’s fun hearing James Gleick explain the pains that H.G. Wells took to explain the basic idea of time travel, which was totally anathema to basically every writer who came before him (except Mark Twain, and even he didn’t quite commit). But as is to be expected from these, the question and answer segment with Stewart Brand after the actual talk is the highlight. Brand is a loveable eccentric whose questions never adhere to a standard interview formula. He’s just a smart person who really listens to the talks from beforehand. Pick of the week. 

Arts and Ideas: “Canada 150: Robert Lepage, Katherine Ryan” — I had to hear this because I haven’t actually heard an interview with Lepage about 887, the incredible performance of his that I saw early last year. It seriously is one of the best experiences I have ever had in a theatre. But I didn’t enjoy this program very much at all, because the host, Philip Dodd, is an idiot. He handles Lepage reasonably well, although he spends altogether too much time huffing disapprovingly about Lepage’s identity as a “multidisciplinary artist.” I don’t see the issue there. (The one amazing upside to that part of the conversation is a bit where Lepage turns the tables on Dodd by referring to Wagner as a multidisciplinary artist.) But Dodd really shits the bed in his interview with Katherine Ryan. He is five to ten years out of date in the discourse about comedy. Ryan outlines the pretty standard rule for modern comedy that you punch up and not down, and Dodd seems to take this (or something else Ryan said, who knows what) to mean that comedy isn’t supposed to offend anymore. Sure it is! It’s just supposed to offend the relatively privileged or powerful! “You’re starting to sound like a Guardian reader,” he tells her. Who exactly does he assume his audience is? I’ve enjoyed the programs that come through BBC’s Arts and Ideas feed before, but I think I’ll avoid Dodd like the plague from here on out.

All Songs Considered: “Listeners Picks For 2017’s Best New Artists (So Far)” — Most of this didn’t catch fire for me, but it picked up at the very end of the countdown. Gracie and Rachel, Charly Bliss, and especially Overcoats are all now on my must-check-out list. The listeners’ number one pick, Diet Cig, worked for me too, but not like those other three. I’ve got to say, last year’s equivalent episode of this was better. This one has a lot of generic guitar rock.

It’s Been A Minute: “Lena Waithe from ‘Master of None’” — The first episode of this left me cold, partially because of its ostentatious format. But if these Tuesday episodes are going to all be like this, I’m in. Presumably the whole reason Sam Sanders has his own show now is that he’s a preternaturally gifted conversationalist. So, giving him the chance to just talk to people in a not toooo structured way (i.e. this is an interview, but it doesn’t feel like one) is probably the best way to leverage his talent. But even if only one of every two episodes works for me, this is still a really good thing to have in the world. Also, Lena Waithe is amazing and I’m going to have to resign myself to putting some time into Master of None.

99% Invisible: “Mexico 68” — This starts off like it’s going to be a sports story without an obvious design angle, but then it turns into a pretty awesome exploration of why it matters who is involved in a project and what happens when design is repurposed for political means. Also, the Mexico 68 Olympics are just really interesting. I’ve really reconnected with this show in recent weeks. I love 99pi.

Radiolab: “Revising the Fault Line” — Another revisit of an older episode, and a really great one, too. This is a story I remember well, about a guy who does something terrible, possibly because of a neurological condition he can’t entirely control. But it goes beyond that story — it gets to a point where Jad and Robert are actually debating with a guest whether free will is a thing that exists. Ye olde Radiolab.

Code Switch: “It’s Our Anniversary” — This episode revisits a few of the most contentious and noteworthy episodes from this podcast’s first year. Mostly, it’s just a really good reminder that Code Switch hit the ground running and is now one of the most valuable podcasts in the public radio space. Many happy returns.

Ear Hustle: “Misguided Loyalty” — There’s a moment here that really drives home a potential issue with this show, which is just that it’s absolutely crucial for the inmates who are telling their own stories be allowed to do so in a way that works for them. It’s possible that this means the show sacrifices a certain amount of emotional honesty. This features a man reading a script about the murder of his family in an almost shockingly affectless way. Better this than the alternative, though. I don’t want anybody’s emotions to be harnessed for the sake of radio art.

On the Media: “Newton Minnow Still Cares About the Media” — Newton Minnow is an interesting fellow. A former advisor to President Kennedy, he made the improvement of television his professional cause. I’m with him on this, though I do think there’s a place in the world for Gilligan’s Island.

Omnibus (week of June 18, 2017)

Yeah, I changed the name. I never liked the old name. Onwards.

The second instalment of the NXNW segment aired yesterday on Radio 1, and it is a whole level weirder than the first. Basically, I tried to convince Sheryl MacKay that the central tenets of medieval alchemy are still alive and well and living in pop culture. Every so often I make something I’m really proud of. This second segment is for sure one of those. I’m at 1:22:34 in this podcast of the show.

Ran a 5K this morning. Boy oh boy were there a lot of people in that. You’ll see more podcasts here than there have been in weeks, because I figured even a 5K shouldn’t be approached with a totally cavalier attitude. Many kilometers were run, and many hours of audio accompanied them. If you’re new to this, this instalment is a bit closer to my usual approach than recent weeks have been: lots of podcasts, shorter reviews. 38 of them, to be precise.

Television

American Gods: “Come To Jesus” — After last time, I didn’t actually expect Jesus to be played for laughs. But there is honestly nothing funnier than seeing a whole herd of diverse Jesuses just milling about. Except for the bit where Wednesday refers to them collectively as “these assholes.” That’s funnier. This season finale is actually my least favourite episode of American Gods so far, but that’s a very relative thing to say. Mostly, I’m just mildly peeved that the story hasn’t gotten to a point where the supporting deities like Nancy and Czernobog are relevant to the story on a consistent basis. I’m as happy as I thought I’d be to see Nancy again, but it would have been nice to see him do more than offer exposition for another character. (I miss the story about tiger balls from the book.) Also, the somewhat overwrought segment where Wednesday reveals his real name to Shadow is the first sequence in the show that hasn’t worked for me. Partially it’s just the Michael-Bay-spinning-cameraness of it all, but mostly I just find it hard to accept that Shadow, or any portion of the audience, would be surprised to learn that a one-eyed god who goes by “Wednesday” would actually be Odin. (This is a problem the show inherits from the book.) On the other hand, this episode makes two substantial improvements on the book. One is in the relationship between Bilquis and the Technical Boy. I suppose it’s still possible that Technical will kill Bilquis at some point, but that moment was one of the most jarring parts of the book, and I’m very glad that she’s survived their first meeting. The other improvement is Kristin Chenoweth’s Easter, who is angrier, funnier and altogether more ruthless than her book analogue. I especially love the way she listens to her adorable messenger bunnies, only to invariably respond “oh, shit!” I realize that throughout these American Gods reviews, I’ve focussed an awful lot on the relationship between show and book. Probably that’ll subside next season, at which point I will have read the book substantially less recently. But I still think that American Gods is as compelling an act of adaptation as a show to be taken on its own merits. Between this and Hannibal, I think Bryan Fuller has confirmed himself as the master of the modern television adaptation. Benioff and Weiss wish they were this good. Season one of American Gods has been some of the best television of recent years. I can’t wait for the next season. Hope it’s longer.

Better Call Saul: “Lantern” — Sometimes I start to write these reviews before I’m finished watching the episode. Here is a brief passage from what I’d written before I watched through to the end. “Chuck. Is. Noxious. The writers of this show, and Michael McKean, should pat themselves on the back for creating such a convincing yet completely insufferable character. The thing that makes him so hard to take is a simple juxtaposition of two traits: he has no compassion at all, and he always perceives himself to have the moral high ground. This episode features one of the most painful scenes in the show so far, in which Chuck intentionally tries to hurt Jimmy, and feels entirely justified in doing so because Jimmy colours outside the lines. He feels no complicity in the rift between the two of them. This is the worst kind of person, and this is a kind of person who exists. I know these people and so do you. Chuck is scum. Chuck is irredeemable.” At the end of the episode, I softened my view rather dramatically. In his more loathsome moments, Chuck makes it easy to forget that he is not at the peak of mental wellness. In retrospect, he might be the highlight of this season, because of the way both McKean and the story emphasize his uncompromising cruelty and his struggle with mental illness at the same time. The show even gives us a handy yardstick by which to assess the reasonableness of our hatred for Chuck: Howard Hamlin. Since the season one reveal that he actually isn’t that bad, Howard has been one of the most sympathetic characters on Better Call Saul.  And even he would rather part with millions of his own hard-earned dollars than work with Chuck any longer. He has become genuinely impossible, and well and truly cruel. He was also in a lot of trouble. And he completely alienated his one-man support system, who to be fair, is a person with no small amount of flaws himself. I expected this episode to be all about Kim after last week’s cliffhanger. And while it is bittersweet to see her finally realizing that she needs to take time to breathe, her season arc basically ended with her car crash. This episode belongs to Chuck. But its subtext belongs to Jimmy. It’s easy to read Chuck’s suicide as a final “fuck you” to his brother. This is only a small part of an inevitably complex equation, but think about this: their last conversation consisted of Chuck telling Jimmy that he would always hurt people and he might as well embrace it. Then he kills himself. Meanwhile, Jimmy has alienated himself from the elder law practice that could have been his saving grace. (I’m delighted that Mrs. Landry is okay.) The path to Saul Goodman has never been clearer than it is now. Pick of the week.

Twin Peaks: The Return: Parts 3-7 — Okay, the internet was right. This Dougie Jones business needs to stop. At first, I was amused — not so much by Kyle McGlaughlin’s performance, which finds him working substantially below his pay grade, but by the constant way that everybody around him basically fails to acknowledge that there’s something really wrong. Particularly wonderful is Naomi Watts as his wife. The fact that she’s not more concerned really makes you wonder what kind of shit-for-brains asshole the real Dougie Jones was. I love the idea that this might not actually be that out of the ordinary. Suppose that’s what you get for marrying a homunculus. But after four episodes of this, I’m ready to have Coop back. I don’t even need to hear him talk about coffee and pie. I don’t even need a thumbs up. I just want him to be here so that the show has a central intelligence in it again who can start to put together the disparate threads that are remaining maddeningly allusive without him. In general though, I’ve really been enjoying this. I don’t have that much to say about it because it’s still got its cards super close to its chest. I’m definitely hoping that we’re not done with David Lynch’s modernized, expanded take on the Black Lodge. The sequences that take place there are truly terrifying, and among the most compelling television I’ve seen in recent times.

Doctor Who: “World Enough and Time” — Okay, now we’re cooking. This is classic Steven Moffat, operating in “hey here’s a fun idea” mode. In this case, the idea is that there’s a huge spaceship right by a black hole, so time works differently at one end of it and the other. The real storytelling masterstroke, though, is stranding the Doctor at the slow end of the ship, so that the situation seriously escalates before he’s able to formulate a plan. Aside from that, this is notable as a real return to Moffat’s signature horror. You could say that the monks constituted horror, as did the notion in “Extremis” that the entire universe is a projection and you cease to exist if you step outside of the beam. But nothing since “Listen” has really gone whole hog into horror territory the way that this does. The scene with the volume dials is one of the most disturbing things Moffat has ever written. And the patients in general, all on their way to becoming Cybermen, are terrifying in that existential way that the Cybermen manage to be when they’ve got a good writer behind them. (Unless that good writer is Neil Gaiman, in which case they still don’t work.) And all that good stuff happens even before we get the big reveal of John Simm. Which, I mean, we all knew he was going to be in this, but am I stupid for being INCREDIBLY FUCKING SURPRISED that character was him? Am I? Come on, be honest. This was an amazing episode: straightforwardly the best of the season. Can’t wait to see what comes next.

Games

King of Dragon Pass — So, the Steam summer sale is on, but I realized that I’m not actually even close to finishing the games I bought during the Steam winter sale. Because *some of us* like to go outside sometimes, amirite? At this point I think the Half-Life series is a lost cause for me. I was so terrible at the first one, and the story is so minimal, that I’m forced to conclude it is literally the opposite of what I appreciate in a video game. Moving on to King of Dragon Pass, then: another classic of an entirely different sort. This is dated, and its high fantasy aesthetic isn’t really my thing, but I’m compelled regardless. Basically, it’s a text-based resource management game with elements of choose-your-own-adventure. So, it’s kind of Sunless Sea before its time. Except that the writing isn’t anywhere close to that level. It has its moments, mind you. I quite like this: “Your men whooped with Orlanth and drank the Eight Known Drinks, so that your heads would hurt during the ceremony.” Also unlike Sunless Sea, its representation of women oscillates between fairly progressive and a bit, erm, medieval. But there’s enough in this to compel me. I’m particularly fond of the way that your progress is compiled into a document called “the Saga,” which actually reads a bit like an Icelandic saga, given that those stories basically are just lists of accomplishments. So far, this seems like the sort of thing I’ll probably play until I manage to beat it on the easiest setting and then I might put it aside. Still, it’ll probably grow on me.

Literature

Jorge Luis Borges: “The Lottery in Babylon” — A substantially simpler and more direct story than some of the others I’ve read recently. Still brilliant, and the way that Borges casually drops details into the framework of ideas that makes up the narrative reminds me once again of how much Neil Gaiman owes to him. Look at this bit: “A slave stole a crimson ticket; the drawing determined that the ticket entitled the bearer to have his tongue burned out.” This comes at a point in the story where it’s been established that owning tickets can result in terrible things happening to you as well as good things, but the specifics have been vague. Borges just drops this punishment into a sentence that’s actually a rumination on what’s supposed to happen in the case of the theft of a ticket. His narrator doesn’t make a big deal of it. That, more than anything in this story, gives the sense of a fully-formed world with defined parameters that are simply taken for granted. I continue to be astonished by this writer.

Kieron Gillen & Jamie McKelvie: The Wicked and the Divine, Volume 4: “Imperial Phase, Part One” — I don’t know how anybody reads this issue-by-issue. When the trade collections come out, I wolf them down in one sitting and I still feel like I need more. This is probably the most exciting collection so far from this perpetually exciting comic. The real showstopper is the the first issue in the collection, formatted as a (beautifully designed) fan magazine in which members of the Pantheon are interviewed by actual journalists (with Gillen filling the role of each god at the other end of a chat window). The best of them is Laurie Penny’s piece on Woden, who is self-evidently the shittiest god. Having read Penny’s piece on Milo Yiannopoulos, it just felt right. My favourite part of the story in this issue is the way that the Pantheon is forced to reorganize and rally behind their logical leaders, Baal and Urdr, in the absence of Ananke. The dynamics between all of these characters just keep getting more interesting. Persephone in particular is the best thing going on in this book right now. Love it.

Kelefa Sanneh: “The Persistence of Prog Rock” — An excellent piece on the contemporary reception of 1970s prog, with reference to David Wiegel’s recent book on the subject. I’m reminded that I need to eventually finish the books cited by Edward Macan, Bill Martin and Will Romano, though I think all of them (especially Romano’s) are quite bad. The most interesting idea raised here is that progressive rock was parochial. This is something that I struggle with. It definitely was parochial — the most recognized bands in the genre were such idiomatically British eccentrics that albums like Selling England by the Pound almost seem a bit Brexity in retrospect. On the other hand, that means that prog largely avoided the garish spectacle of cultural appropriation that a lot of other British rock proffered. The Rolling Stones and John Mayall’s Bluesbreakers seem a hell of a lot more retrograde in retrospect than ELP does. And ELP, lest anybody forget, was the band whose use of classical music in their performances was meant to get the kids listening to “music that has more quality.” The mind reels. I sympathize with Lester Bangs’ distaste for this sentiment. But I’m not sure he ever really saw the other side of the coin. I’ll be reading Wiegel’s book very soon.

Music

Sufjan Stevens, Nico Muhly, Bryce Dessner & James McAlister: Planetarium — Well, it doesn’t make it easy for us. Planetarium is enormously ambitious and enormously long. Every song on this gave me the sense that I’d definitely like it a lot more next time I listen to it. Honestly, that’s one of my favourite reactions to have to a piece of music, but this does meander a bit. I’m curious to know more about the process of this: I’m familiar enough with Stevens, Muhly and Dessner’s work (the latter only as a composer, admittedly — I’ve never liked the National) that I feel like it should be easier than it is to isolate their particular contributions. They seem to have genuinely merged into a many-headed beast. My personal highlights here are “Jupiter” and especially “Mercury,” which has a melody worthy of Carrie & Lowell. But I’ve now heard “Saturn” a few times and it has grown on me from the point of initially leaving me cold to the point where now I actually bring up Apple Music to listen to it specifically. And the 15-minute “Earth” hits my prog rock structural pleasure centres, but there’s too much in it to take in for me to assess it yet. I think this is really good. I’ll probably check back in about it when I listen to it a bit more.

Neil Young: Live at the Riverboat 1969 — Like the Canterbury House instalment of Neil’s archives series, this is most notable for his amusingly awkward, stoned audience banter. I wish I’d been at one of these early acoustic shows, but I wasn’t born until 21 years later. Anyway, I’m actually pretty happy to be moving past the pre-Crazy Horse segment of my quest to hear the Complete Neil Young. Solo acoustic guitar music gets tiresome.

Neil Young: Live at Fillmore East 1970 — Ah, now we’re talking. What’s most notable about this is how much it sounds like Everybody Knows This Is Nowhere. Crazy Horse has always sounded really live in the studio. All the same, the presence of an audience makes “Cowgirl in the Sand” pop a bit more, with the band really trying to ratchet up the tension to keep them into it. I suspect 1970 is the year when things really get interesting. I’ve enjoyed my exploration of Buffalo Springfield and the late-60s limbo state from which the self-titled album emerged. But it’s with the foundation of Crazy Horse and Neil’s induction into CSNY that the phase of his career we know him for really began.

Podcasts

Ear Hustle: “Cellies” — This podcast is a beautiful idea. It’s also staggeringly ambitious. I can only imagine the logistical nightmare it must be to produce a podcast in prison. But these are stories that don’t get told. And when they do, they sure aren’t told by the inmates themselves. This premiere episode introduces some fun characters, including two brothers who ended up as cellmates and nearly drove each other out of their minds. I’m also rather endeared by Earlonne Woods’ resistance to his non-incarcerated co-host’s attempts to apply relationship metaphors to cellmates. He ought to know what metaphors are and aren’t apt. This is the most promising addition to Radiotopia since Song Exploder.

The Pitch: “Babyscripts” — Not for me. This has a solid premise that’s basically guaranteed to yield drama: it’s basically Dragons’ Den. But I’m just not interested enough in business to be interested in these kinds of conversations. Worth a shot if you are.

StartUp: “Life After Startup” — A catch-up session with some of the people in previous StartUp episodes. Most notably, we revisit Dating Ring, the company followed in the show’s underrated second season. I really found the ending of that season heartbreaking, so it’s good to know that even though the business didn’t pan out, the founders are living happy lives these days.

Imaginary Worlds: “Imagining the Internet” — It’s a common refrain among science fiction critics that the internet is the modern technology that the genre failed most egregiously to predict. But this provides a corollary to that view by, in part, bringing Mark Twain into the fold. One highlight of this is hearing the actor who does the readings adopt the personas of their respective authors. I’m especially struck by how similar his Twain is to the genius voice actor that I brought in to do Twain at the end of the last episode of the Syrup Trap Pod Cast. I guess he’s just a voice that people have a sense of.

In Our Time: “The American Populists” — A pleasingly contentious conversation about the short-lived party that briefly promised to offer a real alternative to the Democrats and the Republicans. So no, it’s not about Donald Trump. Trust In Our Time to remind you that history is worth knowing about, and it doesn’t always have to be covered with explicit reference to current events to be relevant.

Love and Radio: “Relevant Questions” — A middling episode of one of the best shows around, so quite good. It’s about the first polygraph operator to speak out against its use. But he’s not straightforwardly heroic, even if he sees himself that way. It’s got a twist that’s done cleverly, in a similar way to the twist in “A Girl of Ivory,” but that’s not a comparison that does this any favours because that episode was a classic. Still, pretty great.

Pop Culture Happy Hour: “Wonder Woman And The Tony Awards” — Okay, I’ll see Wonder Woman. I was kind of going to anyway, in spite of my serious superhero fatigue. This is different. Man, the Tonys seem to have nothing for me this time around.

Radiolab: “The Gondolier” — This is a good story by the standards of recent Radiolab episodes, but I can’t help but hear the Love and Radio episode that could have been. It’s a story about a person who was touted internationally as “Venice’s first female gondolier,” which turned out to be super wrong because he’s a trans man. That last sentence is almost a spoiler, because this episode actually treats Alex, the main character, as a woman for a portion of its duration, in accordance with the reporters’ misunderstanding of his gender identity. The media has traditionally been Alex’s enemy, and this is supposed to provide an antidote to that. I’m not at all the person to judge how it succeeds at that, but I do feel like this is a case where the Love and Radio approach of cutting out the reporter’s voice altogether would be useful. I’d love to hear the version of this story that’s just Alex telling his own story. But Radiolab’s gonna Radiolab, so we have to have a certain amount of ponderous processing and deconstruction. It’s fine.

Home of the Brave: “The Continental Divide” — One of the things I really like about Home of the Brave is that Scott Carrier will sometimes release one of these brief missives in between proper radio projects. I sympathize with his inability to talk to people who disagree with him right now, but I admire his decision to give it another go.

Fresh Air: “Jay Z” — An old interview, from just after the release of Decoded. Terry Gross sounds slightly uncomfortable interviewing Jay Z because she kind of thinks he’s sexist. But Jay is charming and indulgent, even if he does get super defensive when Gross actually brings up sexism. Mostly a very good interview.

This American Life: “Say Anything” — The bulk of this is taken up by a tape that a guy made for his suicidal friend, without ever intending for it to end up on radio. It’s very affecting. But the real highlight is a list of fears written by a developmentally disabled man. It is both funny and insightful. A cameo from Jonathan Goldstein is always appreciated as well.

Fresh Air: “Roxane Gay” — A marvellous interview about Gay’s new book, which sounds like a deeply insightful, really rough read. She’s one of those articulate people you’ve just got to be thankful for.

WTF with Marc Maron: “Alison Brie and Betty Gilpin” — To some extent, this is shameless self-promotion for GLOW, the new show he’s in. But it sounds like a really great show, and I’m always in for an Alison Brie interview. She is completely charming. I didn’t realize that I knew Betty Gilpin, but her American Gods performance is really hilarious and the way she describes it as a wilful misunderstanding of the tone of the whole show is amazing. A good listen.

It’s Been A Minute: “Hey Y’all” — I’m reservedly excited about this. I love Sam Sanders. He’s always been one of my favourite guests on Pop Culture Happy Hour and I miss him on the NPR Politics Podcast. I just hope it doesn’t keep explaining ordinary idioms like “it’s been a minute” to me.

Sampler: “Introducing The Nod!” — Thank god Gimlet found something for Brittany Luse to do. She’s brilliant, and she was always above Sampler. Looking forward.

WTF with Marc Maron: “Sofia Coppola” — This has its moments, and Maron clearly admires and understands Coppola’s filmmaking. But did he have to talk about her dad so much? Surely she’s sick of that. In any case, Sofia Coppola is a genius and I can’t wait to see The Beguiled.

99% Invisible: “You Should Do A Story” — A roundup of miscellaneous stories that didn’t become full episodes. It’s worth hearing for a few simple descriptions of household design solutions from specific places.

The Heart: “Doing Time” — I heard an interview with Kaitlin Prest on a great podcast I don’t review called The Imposter where she said that the launch of Ear Hustle and the themed episodes Radiotopia did for its launch resulted in a hurried finish to the “No” season, which doesn’t actually come off in the last episode, but it sucks. In any case, this brushed-up episode from the back catalogue is perfectly fine.

Code Switch: “What To Make Of Philando Castile’s Death, One Year Later” — This won’t help you process the acquittal of Philando Castile’s killer, but it does feature an interview with a friend of Castile’s that is heartbreaking.  

What Trump Can Teach Us About Con Law: “Pardon Power” — Is this presidency really so unprecedented that we’re entertaining the notion that a sitting president could pardon himself? Guys this is not normal.

The Gist: “Scaachi Koul on Surviving the Trolls” — Scaachi Koul is one of the funniest and best writers about sexism and racism. If you don’t read her on Buzzfeed, what are you even doing. I’m really looking forward to reading her book. This interview isn’t one of Mike Pesca’s best moments, but it is plenty good on Koul’s part. He gets all tone policey and she doesn’t let him get away with it. Satisfying in a way.

StartUp: “How To Invent A New Sport” — This is about a guy who made a new version of basketball. The best part is the story of a pitch meeting in China. Listen for that alone.

The Gist: “Do Radicals Change the World?” — Jeremy McCarter is familiar to me from the Hamiltome, but this new book doesn’t sound like something I’ll especially enjoy. I’ll take China Mieville’s 1917 book, thanks. He’s got no doubts that radicals change the world.

Pop Culture Happy Hour: “GLOW And Lena Waithe” — Hmm, here are two shows that make me wish there was more time in a day. I’m finding it hard to commit to the idea of watching GLOW and Master of None. The former has a bunch of people I love involved, but I’m not sold on the hype. And Master of None sounds like it’s got a slow first season and a killer second. That’s a stumbling block. You’d never think it from reading this blog sometimes, but I’ve got to be judicious in my choices. Even I only have so much time to allot to this stuff.

It’s Been A Minute: “Likes Don’t Matter” — I don’t know how to feel about this. Part of me wants to think that it’ll find its legs, but it’s also totally clear that this has been given dry run after dry run, so it’s already got a fair bit of mileage behind it. Sam Sanders is one of the cleverest, most magnetic people at NPR. But this feels kind of forcedly colloquial to me. I liked Sanders a lot on the NPR Politics Podcast, where they had a mandate to really get into the grains of it, because Sanders was the guy who could inject a bit of air into the proceedings. He was as good at talking politics as the rest of the panel, but also funnier. In a less explicitly focussed situation, I’m not sure what to make of him anymore. I’ll keep listening, because I really do think he’s great. But I have reservations.

Beef And Dairy Network: “Gareth Belge” — Ahh, I like this. I like this show a lot. This features a hilarious segment about how cows act as body doubles for actors more than you’d know. That’s this show in a nutshell. Beautiful.

Mogul: Episodes 1 & 2 — I resisted this at first because it came out initially on Spotify, and I’m dead set against windowing in the podcast world. But I had to hear this story. It is magical. It is the story of Chris Lighty, the powerful hip hop executive: how he rose to prominence and how he died. Combat Jack hosts (going by his birth name here, Reggie Ossé), and he brings a level of expertise on this topic that probably nobody else in the world could top. The joy of listening to this is not just in the character-driven story of Lighty, nor is it even in the brilliantly rendered history of hip hop’s evolution. It’s in Ossé’s intense engagement with the material. I’ve always known somebody would make a podcast like this sometime — a show that deals with the history of music in a story-driven, audio rich way. Song Exploder isn’t quite it. This is it. I’ve been waiting for this. If you have any interest at all in hip hop or in knowing something about the music of the last forty years, check this out. It’s a beautiful thing. Pick of the week.