Tag Archives: On the Media

Omnireviewer (week of Jun. 5, 2016)

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Every week, I tag my Omnireviewer posts with the relevant categories: movies, TV, comedy, books, comics, classical music, popular music, video games and podcasts. This week marks a new milestone: the first time I’ve got all the categories in one post.

*party favour noise*

Here are this week’s 28 reviews.

Movies

Captain America: Civil War — I LOVED this movie. But before I praise it to the high heavens, I need to puke up the obligatory caveat that cinematic universes are a bad idea and I want there to be small, self-contained movies again. The trailer for Rogue One at the start of this actually cast a shadow over the opening scenes of the movie. The idea that there are just going to be a million Star Wars movies now appalls me. Back when there were just two trilogies, the batting average may have been low, but at least there wasn’t a saturation problem. That seems inevitable now. On the other hand, Civil War gets maximum mileage out of the advantages that a sprawling canon affords. Every major MCU character save for Thor, Bruce Banner and Nick Fury are here, along with the bulk of their supporting cast. And when they all fight (spoiler: they all fight), their previously established relationships inform the way that fight plays out. The character dynamics in this remind me of two very different movies, both of which are far better than this one, but the fact that I’m even thinking about them speaks highly of Civil War. One of those movies is Mad Max: Fury Road. I wrote about the fight scene between Max and Furiosa in my year-end wrap up for 2015. The huge fight scene that serves as Civil War’s central set piece is far less focussed and less high-concept, but it is similar in the sense that the characters are not just trying to mow each other down and emerge victorious. There are more complicated dynamics at play for everybody here, from Black Widow and Hawkeye not wanting to hit each other too hard to Spider-Man being an obvious newbie and eager to impress. And, just a side note before I continue this line of thought: it looks like the third time’s going to be the charm where Spider-Man movies are concerned. The Tobey Maguire ones have aged very badly and the Andrew Garfield iteration was DOA. But this Tom Holland kid (says the guy who’s five years older than him, but spiritually, forty) has got the goods. If the writing for Peter Parker in the next Spider-Man movie is as sharp as it is here, we’re saved. This is the wisecracking, verbose, overenthusiastic character that I remember from the cartoons of my youth. I am similarly excited for Black Panther, though I don’t actually know the character. Anyway. The other movie that came to mind while I was watching this was, stay with me here, The Rules of the Game. Like I said a couple weeks ago, that’s a movie where everybody does what they think is right, and there are terrible consequences anyway. There’s no bad guy. There is a bad guy in Civil War, obviously. This is a Marvel movie; not a French drama from 1939. But, the villain here is essentially a MacGuffin. He even almost conceives of himself as a MacGuffin: he’s just trying to start a process that he himself will not have much to do with. This is the closest thing I’ve seen to a juggernaut franchise blockbuster that doesn’t have time for the idea of evil. Even Mr. MacGuffin doesn’t turn out to be evil, necessarily, though it takes a certain amount of ruthlessness to respond to his circumstances the way that he does. The point is: it’s almost immaterial whether you align yourself with “Team Cap” or “Team Stark”: the important thing is that they both think they’re doing what’s right, and violence ensues regardless. That is almost unprecedented in this kind of movie. But, this movie is trying to be a subtly different kind of franchise movie in a few different ways. Let’s return to Mr. MacGuffin for a moment. The big reveal about his character near the end of the movie is the exact opposite of the trick that Star Trek: Into Darkness played with Benedict Cumberbatch’s character, where they reveal some time into the movie that he’s actually been a huge iconic villain from the canon all along. Mr. MacGuffin’s big reveal is that he’s nobody. At this point, that’s more legitimately surprising in the MCU than, say, revealing that he’s the Green Goblin. It’s a willful subversion of a trope that has been established — largely by Marvel — only in the age of cinematic universes. Also, the fact that he’s a previously inconsequential victim of the carnage in Age of Ultron is an apt response to the appalling body count of many of these types of movies. The character Vision is one of the least interesting in the movie, but he has one interesting thing to say. He suggests that the presence of superheroes in the world leads to the inevitable presence of super-threats. What he’s really saying is that the Avengers need to be careful how they act, because their very existence proves that they’re in the kind of story where cities get levelled by monologuing AIs. Tony Stark is ready to not be in that story anymore. So, he tries to turn the story into a political drama. Stark has little to lose, narratively speaking. He can function just fine as a quippy guy in a boardroom. Cap’s not having it, though, because he can only function as a superhero. The fact that all of these themes are demonstrably present in this movie without it ever descending into explicit metafiction (not a given from a pair of directors who worked on Community) marks it as something special. The fact that I’ve written this much about a Marvel movie without saying anything outright negative marks it as something approaching a miracle. Pick of the week.

Television

Last Week Tonight: June 5, 2016 — I never have anything substantial to say about this show, because I feel like it leaves everything pretty much said for itself. This was a fantastic episode that completely transcends its headline-grabbing gimmick of forgiving $15 million dollars of real-world debt. I was thinking as I watched this, I think part of why it’s so good isn’t necessarily because it’s funny from top to bottom. Take note of where the audience laughs versus where they applaud. Part of why this feels so good is that it’s skilful rhetoric. That word has taken on a bit of a ghostly pall these days, and deservedly so. Rhetoric is used by politicians to peddle talking points, and in that service it need not necessarily be reasoned. But John Oliver has a standup comedian’s ability to take you gradually from point A to point B to point C, until you reach clarity. I can’t name a moment where I’ve actually disagreed with John Oliver, and while that might be partially because we are approximately the same species of liberal, I think part of it is simply because of the power of his argumentation. That’s not scary in this instance; it’s laudable. I lump him in as much with people like Bob Garfield and Brooke Gladstone as with Jon Stewart and Stephen Colbert. I haven’t given this show pick of the week very often, and I’m not going to this week either. But as a sustained thing that I check in with each week, it’s absolutely one of my favourite things being made right now.

Archer: “Deadly Velvet, Part 2” — Well, shit. Now I’m definitely watching the next season. This was really funny, and brought the story full-circle in a way that made some jokes pay off after an entire season of waiting. Archer is still capable of intense cleverness, even if it is starting to feel a bit thin in places.

Game of Thrones: “The Broken Man” — Ian McShane! The Hound! Jon and Sansa are building an army! Arya got stabbed! Oh, so much for Ian McShane.

Lost: “Confidence Man” — There are so many characters that don’t work in this first season. Sayid is almost one of them, just due to Naveen Andrews’s atrocious fake accent. But mostly I’m talking about Sawyer because he is noxious. And frankly, even a sympathetic origin story and the considerable writing talents of Damon Lindelof himself cannot paper over that.

And Then There Were None: Episode 1 — If I’m not mistaken, not only have I never read anything by Agatha Christie, but I also have never seen an adaptation of her work. The closest I’ve come is that silly Doctor Who story where she gets attacked by a giant bee. This unfamiliarity makes it interesting to watch a series that perceives itself to be telling a familiar story. And Then There Were None, elegantly retitled from Christie’s original very racist title, introduces its characters with great ceremony, as if they’re all James Bond or Sherlock Holmes. Presumably, they are better known to the average BBC viewer than they are to me — Christie is a nearly unparalleled British cultural touchstone, of course, and I am a mere hayseed from the colonies. But once you get over the feeling that you’re being presented with the phenomenon of Agatha Christie: familiar thing, the story rockets along in this miniseries premiere. The acting is the most obviously phenomenal thing, and the show gets a lot of mileage out of just letting Miranda Richardson be charismatically horrible, Burn Gorman be charismatically skittish, and the rest of them be charismatic variants on other unsavoury traits. But it’s also wonderfully written, shot, paced, etc., and the sets are fantastic. I’m loving this so far, but I’ll leave it there for now because I suspect things are going to go bonkers in the next instalment.

Comedy

Mitch Hedberg: Comedy Central Presents Mitch Hedberg — This is amazing. It’s like a battle between a man, his sense of self, and an audience that he wrongly perceives as hostile. Actually, listening to the audience only sort of get the jokes is half the fun. There are so many quotable one-liners packed into these 37 minutes, that it’s hard to fathom how long it must have taken him to put together all that material. His whole career, I assume. This is messy and weird and probably still one of the best specials I’ve seen.

Literature, etc.

Thomas Ligotti: “The Red Tower” — This seemed to me to be the most hyped story in Teatro Grottesco, and I certainly understand why. It is exceedingly unorthodox not just in its subject matter, which is a given for Ligotti, but in its approach. Aside from the narrator, about whom the reader never learns any details, there are no characters in this story. It is simply a description of how an incredibly unsettling supernatural factory operates. It left my skin crawling, because I’m certain that it’s a metaphor for something but I’m not sure what. The operation described in this story has the shape of a vaguely familiar thing, but twisted into a grotesque parody. That feeling of not quite being able to put your finger on the reason you’re upset is, I’m learning, a hallmark of Ligotti’s writing. I’m not sure this is my favourite story in Teatro Grottesco so far — I’m still quite fond of “The Town Manager” — but I suspect it’s objectively the best one.

Alex Clifton: One Week // One Band, Punch Brothers — Having grazed through bits and pieces of this group blog’s back catalogue, I’ve found that there are some weeks that feature solid critical theory worth revisiting long after the fact, and others that take a more companionable approach something like a really smart radio host. This is the first week that I’ve followed as it goes along, and Clifton tends towards the second approach — but boy does it work better when delivered in real time. Every so often, you’ll get another dose, and by the end of the week, you feel like you’ve got a handle on the band. The Punch Brothers are a band I’ve meant to get into for ages, having seen a bunch of Chris Thile related stuff on YouTube. Now I’ve got a bunch of context and I’ve seen a bunch of live stuff that I might not have if I’d just dove in with an album from the start. I think this is what Tumblr is for. This made me not hate social media for a while, which is a real trick in a week where I also read…

John Herrman: The Content Wars — I dunno about you, but I’m feeling more and more like Facebook is leading us all to the brink of an intellectual apocalypse. And I’m starting to feel the backlash coming on. The first inkling of it that I observed outside of my own head was Vox co-founder Joshua Topolsky’s post on Medium a few weeks back. Then, I heard my favourite fellow tech sceptic Benjamen Walker bring it up on Theory of Everything. And that episode led me to John Herrman’s column The Content Wars that ran on the Awl throughout 2014-15. Being me, I decided to read every column, straight from the top. I’ve got a ways to go yet, but so far it is excellent and frightening. The upshot is that social platforms, Facebook in particular, are interested in promoting content (Herrman always stylises it as CONTENT) that makes people use those platforms more. Whether anybody clicks on or engages with a publisher’s CONTENT is essentially irrelevant. Thus (and Herrman doesn’t argue this didactically though he clearly feels it very acutely), publishers who produce content in the hopes of taking advantage of Facebook’s algorithm are not only cheapening their respective brands. They are also helping Facebook cement its monopoly on the sharing of information. Which, in turn will force more publishers to cater to Facebook’s algorithm, and we’re suddenly in a big dumb feedback loop of fail videos, listicles and inane hot takes. Some of Herrman’s posts are newsy and of their time, but the best ones are the most abstracted, and they’re still very relevant a year later. It ought to be required reading for anybody working in any media company because the impact of social media on editorial CONTENT is bad and it is real and it will either end soon and take us all with it or it will lead to the utter nadir of human thought. Unless we stop it. Read this series to know what I’m talking about.

Matt Fraction/Gabriel Bá: Casanova, Volume 3 “Avaritia” — Man, this comic is really hard to follow. I can’t imagine what it’s like to actually follow on an issue-by-issue basis. I can barely keep track of everything when I’m reading the trade collections. But the penny does usually drop at some point, and that moment was pretty awesome in the second volume, so I will hold out hope. Also, Fraction is the only writer who composes an SF story this intricate and still fills it with recurring sight gags.

Music

John Storgårds, Helsinki Philharmonic Orchestra, Gerald Finley, Mika Pohjonen et. al: Works by Rautavaara — Einojuhani Rautavaara is one of the best living composers, and probably one of the most revered by people who are inclined to revere people like him. But his name hasn’t quite punctured through into the mainstream classical consciousness in the way that, say, Steve Reich or Arvo Pärt have. I wish it would. Rautavaara’s music sits exactly on that perfect line between Romantic familiarity and postmodernist novelty. Storgårds and his Finnish orchestra are no strangers to this music, and perform it wonderfully. Gerald Finley’s performance on the first work on the disc is typical of his dramatic, unforced approach to concert material and reminded me why he’s one of my favourite baritones — not only can he really, really sing, but he’s also a great champion of new work. (This song cycle was commissioned for Finley specifically by Wigmore Hall.) Tenor Mika Pohjonen is new to me, and honestly not my kind of singer. He’s got that paint thinner vibrato; you know the kind. But he’s tolerable in the fairly small tenor part of the cantata Balada. And the Helsinki Music Centre Choir gets their time in the sun during Four Songs from the Opera Rasputin, an opera which I am now determined to see.  Anybody looking for a way into Rautavaara’s music should check this out. (Then high-tail ‘er straight for the Latvian Radio Choir’s amazing recording of his sacred music. That’s also incredible.)

Punch Brothers: Who’s Feeling Young Now? — Alex Clifton’s recommended starting point did not disappoint. The music on this album seems generally more straightforward than some of the stuff on their first two, though that doesn’t stop Chris Thile from pulling out an inscrutable polyrhythm on “Movement and Location.” There are no bad songs on this, and it’s so much more than the novelty you might expect from a bluegrass group fronted by a mandolin virtuoso that does Radiohead covers.

Games

Super Meat Boy — I confess, I played this for a few minutes this week just so that I could finally sweep all of my Omnireviewer categories. But since I’m here, I may as well talk about how this sort of game is the kind of thing that I can appreciate, but never really enjoy. I bought it out of curiosity after watching Indie Game: The Movie, and the beauty of the mechanics was obvious from the start. Still, it is much too “video game” for me, in general. I like my games to be books. This is very much not a book. I will say, though: I beat a few levels I’d been struggling with, and man did it feel good. Mark this down as a potential danger to my health.

Podcasts

More Perfect: “Cruel and Unusual” — This story of the way that lethal injections enter the United States, the first in a miniseries from Radiolab about the SCOTUS, is the best Radiolab-related story I’ve heard in some time. And that’s coming from a staunch Robert Krulwich devotee, and he’s not in this. It contains the most amusing bit of tape I’ve heard in awhile, where a dogged but pathologically good-natured British reporter presses a cartoon villain of a pharma reseller with questions he absolutely does not want to answer. It’s glorious. The whole thing is. Jad’s theme song is the dumbest thing I’ve heard in my damn life, though. Pick of the week.

Pop Culture Happy Hour: “X-Men: Apocalypse and Supervillains” — On one hand, I’m not sure why they decided to do this, since none of them seemed to have strong feelings about the movie one way or another, but having Chris Klimek and Daoud Tyler-Ameen in lieu of Glen Weldon’s usual brand of comic book geekdom is refreshing in a topic like this. And I admire Linda Holmes’s tenacity in constantly referring to Apocalypse as “Oscar Isaac Blue God Man.”

On The Media: “When to Believe” — Worth it for the story of a New York Times reporter who changed the way the media covered AIDS. It’s hugely moving, in a way you don’t normally expect from this show.

The Heart: “Hands on the Wheel” — I can’t make it pick of the week every week, but I’m tempted to. The Heart has already found its way into my top podcasts of the year, on account of this series alone. Which is not to say that The Heart isn’t always good — it is. But this series is gut-wrenching and well-made and if you’re not listening to it right now you’re doing podcasts wrong. Or, you don’t want to hear a long, detailed story about a woman grappling with her childhood sexual abuse, which is totally fair. But if you’re open to hearing that kind of story, get on this.

The Bugle: “VIB – Very Important Bugle” — I saw that title and thought, oh, John Oliver must be leaving The Bugle. And I was right. The Bugle is great, but I’ve only been listening for a short time, and even then only occasionally. I can’t help but feel that its best days were prior to my having found it. Maybe the upcoming soft reboot, with a rotating panel of second chairs (Wyatt Cenac! Helen Zaltzman!) will reinvigorate it into a show I feel compelled to listen to when the title isn’t “Very Important Bugle.”

The Memory Palace: “Family Snapshot” — A lovely, slight little thing, but when it comes to moon landing-related episodes of The Memory Palace, there’s only one for me. You know how it is.

All Songs Considered: “Sean Lennon’s Surreal Ode to Michael Jackson’s Pet Chimp, Bubbles” — This is an odd, odd song. I feel somewhat tempted to check out the album, just on account of how odd this song is. Sean Lennon is a strange bird, but can you blame him?

Radiolab: “The Buried Bodies Case” — This is quite basic in its approach, but it’s a super compelling story. It starts with an account of a manhunt that’s totally absorbing, and then it moves into a discussion of the criminal defence lawyers in the case, and the unusual position they found themselves in where they had to disobey their consciences to be good lawyers. Really interesting.

Theory of Everything: “Not Soon Enough” — I had to go back and listen to this whole episode after Roman Mars played the opening on 99pi and Nate DiMeo cited it as his favourite on The Memory Palace. The middle portion didn’t make a lot of sense, I’ll admit, probably because I hadn’t heard the episode where this character (a real person, maybe?) was introduced. See below. But the beginning and end, featuring a pair of monologues from Benjamen Walker about trying to jump into a painting, are glorious. This is that magical thing: a combination of fiction and nonfiction with a bit of art criticism thrown in for good measure. This show is unlike anything else and I love it so much that I’m going to listen to two more episodes now.

Theory of Everything: “Admissions of Defeat” — I listened to this in the hopes that the middle section of “Not Soon Enough” would make more sense. It does, but I’m still not sure how much of it isn’t real. It shouldn’t matter, but today it did for some reason. The rest of this episode is amazing, though. Walker attends (well, no he doesn’t; he just says he does) a post-gentrification, tech bubble psychic, and a correspondent explains an NSA plot to put backdoors in podcasts. This is the only show tied to a major podcast ring that’s got the guts to go this far out. I love it so much.

Theory of Everything: “sudculture (part I of II)” — Okay, this is a bit earnest. I love craft beer, and I am all for any anti-corporate attitude that results in a more flavourful brew. Actually, I am pretty much for any anti-corporate attitude. But this is the first time that Walker’s statement-making felt like rote hipsterism to me. I suspect that the second part, which he’s suggested has something to do with craft beer opposing one corporate monoculture only to impose another, will be more interesting.

Pop Culture Happy Hour: “Small Batch: The Black Film Canon” — A useful summary of a Slate piece I’ll likely skim fairly soon.

99% Invisible: “H-Day” — There’s a feeling you sometimes get as a radio producer where you find a piece of tape that is so absurd, so wonderful, and so unexpected that you know it will make everything around it more memorable just by proximity. This episode has a song, funded by the government of Sweden, intended to remind people to drive on the right side of the road. The key lyric, approximately translated: “Keep to the right, Svensson.” That song is going to make this a 99pi I will remember. But it’s also just pretty fantastic in general. Other revelations include the fact that the Swedish government instituted a sweeping infrastructure change in spite of a referendum that showed over 80% of the population opposed it, and that there’s a phone number you can call to be connected to a random Swede.

Code Switch: “Made for You and Me” — This podcast is proving to be a massive reintroduction to the extent of my own whiteness. This is an entire episode about the stereotype that people of colour don’t do outdoorsy things. I didn’t even know that stereotype was a thing.

Omnireviewer (week of May 29)

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16 reviews. It’s been busy.

Music

Car Seat Headrest: Teens of Denial — I won’t say I love all of it. But I will say that “Vincent,” and “The Ballad of the Costa Concordia” are up there with “Blackstar,” “Freedom” and ‘Animal Rites” as my favourite tracks of the year. This is guaranteed to grow on me in a big way. I can already recognize that it’s something really special. I may have my own idiosyncratic faves of the year so far — including John Congleton, Tim Hecker and David Bowie (atypical to the extent that I’m probably in the minority in thinking that Blackstar is one of his best albums) — but I’m happy to predict that for years to come, we’ll still be talking about Beyoncé’s Lemonade and Car Seat Headrest’s Teens of Denial. Pick of the week.

Jethro Tull: Nightcap: The Unreleased Masters — I can’t believe I’ve never listened to this. The first disc of this collection contains the music from the Chateau D’Herouville (nicknamed Chateau D’Horrible by the band) that predates A Passion Play but was never released. I won’t pretend it’s excellent — the best cuts made it onto A Passion Play, and the rest is mostly marginal. I suspect that these sessions are regarded more highly by people who don’t like A Passion Play as much as I do. Still, it’s got some worthwhile snippets and is absolutely fascinating as a document for geeks like me. The second disc contains some stuff I’d heard as bonus tracks on the second-most recent re-releases of the studio albums, and a bunch of stuff I hadn’t. The outtakes from the ‘70s are so close to album-calibre it’s almost painful. Some of the ‘80s stuff has its appeal too, but by the time we’re getting to Rock Island castoffs, things are getting dire.

Jethro Tull: Roots to Branches — Another album I can’t believe I’ve never heard. This is known among Tull fans, specifically those of us with an affinity for their proggier stuff, as the one really worthwhile ‘90s Tull album. Naturally, I really like it. There are problems: the digital keyboards are corny, and Anderson’s lyrics are not what they once were — in fact, they’re appallingly self-serious in places. But it’s definitely one of the good ones. It isn’t in the league of Songs From the Wood, for instance, but I’d put it about even with The Broadsword and the Beast.

Television

Game of Thrones: “Blood Of My Blood” — Well, Arya’s plotline has gone well off the rails. King’s Landing isn’t as fun when Cersei’s not in most of the scenes. And Sam’s father is introduced as yet another intransigent fuckhead without a shred of self-knowledge. Basically, this feels like all of the plotlines that weren’t good enough for last week’s awesome episode stuck together. It’s still not actually bad, though, and I remain thoroughly turned-around on this season.

Archer: “Deadly Velvet, Part 1” — Huh, I’m actually excited to see the end of this story, as opposed to just hearing the rest of the jokes. Archer is good, but I would like to see these writers do a different show soon.

Games

HyperBound — I’ll confess, a major part of why I wanted to play EarthBound in the first place is because I wanted to play this hack of it. I first heard about HyperBound in Anna Anthropy’s awesome games manifesto The Rise of the Videogame Zinesters. Essentially, it is a game that’s very unlike EarthBound, but which uses EarthBound as its building blocks. In HyperBound, Ness is not Ness, but rather a nameless amnesiac (ah, amnesia — always the most useful adventure game trope) who must travel through a number of towns gathering evidence about his former life. The principal new mechanic is quite ingenious: early in the game, you meet a doctor who will allow you to undertake a procedure to regain your memories. (The gameplay during the procedure feels like reverse Eternal Sunshine, but made of EarthBound sprites.) You can undergo the procedure whenever and however many times you like, but it has a slim chance of working. The more you’ve explored, the more likely it is to work. When it doesn’t work, it causes brain damage, which manifests as glitches in the game. (Much as EarthBound is a very reflexive game, HyperBound is a very reflexive hack.) For me, there are two problems with this. One is simply that I enjoyed EarthBound far more than I expected to, so playing this kind of makes me wish I was just playing EarthBound. (I had half expected to like it more than EarthBound, crazy as that sounds.) HyperBound eliminates the element of EarthBound that I found occasionally trying, the combat, and maintains the exploratory element that I enjoyed the most. But by the end of EarthBound, I had begun to appreciate the challenge of the combat, and it helped to break up gameplay. Now I miss it. But comparing the two games in this way is kind of moot: HyperBound’s goal isn’t to modify EarthBound, it’s to tell a substantial interactive story using the materials of another. Which leads me to my second issue: HyperBound doesn’t do as much to subvert EarthBound as I’d personally like. It’s not uncommon to encounter characters who speak the same dialogue as they did in the original version, and the tone of the original is replicated almost obsessively. There’s an opportunity here, given that this is effectively a mashup, to use the systems of meaning established in EarthBound for different purposes, thereby explicitly undermining them. The fact that HyperBound is so reluctant to take this approach is a bit disappointing to me. But, all of this is me refusing to take HyperBound on its own terms, which is terribly rude. It is spectacularly accomplished as a hack, and the intentional use of glitches is properly clever. Now that I’m done with this, I think it’s time for my second playthrough of Undertale. Now there’s a game that undermines EarthBound.

Podcasts

The Heart: “Ten Foot Pole” — Okay, this is getting great. On one hand, there’s the always-present discomfort about being entertained by somebody else’s real-life horror story, but this continuing series about a woman coming to terms with her childhood sexual abuse is the most gripping thing I’ve heard in awhile. In this episode, she actually talks to the man who abused her, though she doesn’t tell him who she is or bring up the abuse. Nonetheless, the conversation turns out to be shocking in its resonance. The Heart is a fantastic podcast, always, but I think this might be the most meaningful thing it’s ever done. And of course, it sounds amazing. These folks are the best audio editors at Radiotopia. (Alongside The Truth, maybe, but when have they had a story this good?)

StartUp: “Kitchen Confidential” — I’m starting to get sick of hearing the same story, week after week. Which is an ironic thing to say, given that this is the first season of StartUp to feature a different story every week, as opposed to one serialized narrative. But in focussing on the same moment in each of their subject companies’ developments — the “make or break” moment, to use the parlance of a superior podcast — they’re retreading the same narrative ground, again and again. A return to serialized seasons would be much appreciated at this point.

Pop Culture Happy Hour: “Live at Vulture Festival” — Okay, so their topical link to Vulture is pretty tenuous, but this is a fun listen. Linda and Glen are at their funniest in a live setting, and Stephen Thompson and Audie Cornish are both very thoughtful here. Cornish on pop culture and politics makes this worthwhile in itself.

Reply All: “On The Inside, Part III” — This is getting really awesome. The fact that Reply All is a show about the internet that employs a journalist with Sruthi Pinamaneni’s investigative chops ought to make every other internet-focussed media enterprise cower with shame.

On The Media: “Kidnapped” — A marvellous hour devoted to journalists who have been kidnapped reporting in war zones, especially in Syria. There are some extraordinary stories here. What’s particularly enraging is the fact that the systemic breakdown of journalism as an industry that hires reporters full-time can be linked to the problem: if you’re a freelancer, you’re incentivized to behave in really risky ways, like sneaking over borders and such. That, and many other aspects of this story make me want to throw things.

Love and Radio: “Another Planet” — Unlike most episodes of this show, this features a number of different characters, all telling the story of a single place: an abandoned gas station that was turned into an unofficial shelter and cultural centre for a community of (mostly) homeless people. But, like most episodes of this show, it doesn’t start out telling you that’s the story you’re hearing. The lede is always buried in Love and Radio, and that is why I love it so much. Also, Tim Robbins is in this for some reason.

Theory of Everything: “Analogue Time” — I think I prefer the 99pi version of the cassette tape story, but this pairs it with two other stories about technological change, including an account of why Benjamen Walker’s Radiotopia Live segment won’t work on the radio, and a reflection on David Lynch’s Lost Highway. Part of what I love about this show is its ability to find thematic resonances between little bits and pieces of things. It sort of scratches the itch that I’ve had since Radiolab changed format and started devoting whole episodes to single stories.  

Strangers: “The Son, The Goddess, and Leopoldo” — Here’s a good yarn. A boy born into a coven of lesbian witches travels America with his radical leftist mother and helplessly witnesses her abuse by a man who seemed to define everything she believed in. (So much abuse, this week.) It’s told in first-person by the son himself, and it twists and it turns and it twists. It’s appalling at times, but it’s one of those stories that’s so good you don’t pause it to do something else. I don’t listen to Strangers enough. Pick of the week.

Code Switch: “Can We Talk About Whiteness?” — Speaking as a really, really white person, it’s great to hear some smart people actually tackle the concept of whiteness head-on. It’s also a bit strange that the first episode of a podcast about race hosted by people of colour is about white people, but they lampshade that from the outset and who am I to say, anyway. This is really promising. I’m really looking forward to hearing more of this.

All Songs Considered: “The Worst Songs Of All Time?” — This is a lot of fun. Hearing Carrie Brownstein talk about music she hates is just great. “No Rain” by Blind Melon is “sitting on a couch with bad posture.” Talking about music doesn’t get any better than that.

Omnireviewer (week of May 15)

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Ah man, I came so close to a clean sweep of my categories, this week. If I’d only listened to some classical music and played a video game. In any case, 26 reviews, many of which contain multiple items within them. Good week.

Events

Vancouver Art Gallery: MashUp — I went to this exhibition on the last day before it ends, and left completely fried. All four floors of the VAG were devoted to this century-spanning show, with a different period on each, in reverse order. For two floors, I read more or less all of the curators’ text and stopped to look at everything on display. But at some point on floor three, amidst the Warhols and the Rauschenbergs, I got overwhelmed and couldn’t take it in anymore. This is a show I wish I’d been to see at least twice. The three hours I spent were not nearly enough to process everything on display. But I’m really happy to have seen it at all. It leant context to some figures that I’m particularly fascinated by, like John Cage, Luigi Russolo, Marcel Duchamp, Guy Debord and Brian Eno. Predictably, I was especially fascinated by the room devoted to My Life in the Bush of Ghosts, in which the videos for “America is Waiting” and “Mea Culpa” were playing on repeat, alongside a display of works that were influential to Eno and Byrne as they were producing the album. The curators admirably didn’t shy away from pointing out the culturally imperialistic elements of the album, but also presented it as a key text in the history of mashup, which it definitely is.

Music

Kanye West: The Life of Pablo — Okay, it’s growing on me. (It has also changed substantially since last I heard it, and the mix doesn’t sound like amateur hour anymore, so there’s that.) I am still bothered by the sheer extent of the asshat that Kanye’s willing to be here: that Taylor Swift line is unforgivable. Kanye’s verses on Pablo are even more mean-spirited than Yeezus, but they’re also more frequently stupid. However, a lot of the beats are nearly Dark Fantasy calibre. “Famous,” in spite of the aforementioned unforgivable line, is one of the best beats in Kanye’s catalogue, and “Ultralight Beam” is one of his best songs, full stop. Chance’s verse is the best on the album by a country mile. I’m reminded of Nicki Minaj on Dark Fantasy. “Waves” is a solid pop tune with something interesting to say about the permanence of great art. Now that Pablo is something resembling finished, it has the makings of a decent Kanye album. But there are still enough head-shaking moments (the outro of “30 Hours?”) that I think it’ll ultimately be regarded as one of his lesser works.

Jack White: Blunderbuss & Lazaretto — I loved Jack White’s bit on Lemonade so much that I needed more. These solo albums are maybe a bit less idiosyncratic than the best White Stripes albums, but they’re no less good. It’s interesting to hear what White does backed by a band of musicians as capable as he is. (That’s not a knock on Meg White — she shaped the White Stripes as much as Jack did, even if only by forcing Jack into a corner.) You might expect White to get lazy when provisioned with the relative freedom of working with ace session musicians and playing a bunch of instruments himself. (Giving an artist total freedom is castrating them, Peter Gabriel once said. Maybe he learned that from Eno.) But White maintains his discipline, writing great songs and only reaching for the studio magic juice when it will serve the track. Blunderbuss is the one that feels more familiar to me as a White Stripes fan, but it still goes madly off in many more directions than any other Jack White project I’ve heard. “Sixteen Saltines” is practically vintage, while the almost barrelhouse piano that starts “Hypocritical Kiss” sounds like nothing I’ve heard from White before. “Take Me With You When You Go” is as good as anything on a White Stripes album. Lazaretto is solid modern blues rock — from possibly the only living artist who can honestly claim that label. “Alone In My Home” is so unexpectedly joyous that I almost didn’t finish my first listen through, in favour of just hitting repeat on that one. And I don’t even think it’s the best track on the album. I love both of these, and I feel like they fill a hole — just as I suspect I’m nearing my lifetime saturation point for Led Zeppelin, I have another rootsy rock and roller to obsess over. And one with a more modern sensibility.

The White Stripes: full catalogue — Hey, I had some spare time and a trial period on Tidal. (I’m becoming less hostile to Tidal, but when I inevitably sign up for the cheap version and don’t get this glorious hi-def sound, I’ll be pissed.) There were a few first listens here. In fact, it’s possible that White Blood Cells and Elephant were the only ones I’d heard before. I thought I’d heard Icky Thump all the way through, but not much of it sounded familiar. In any case, this is a serious body of work. The debut is a tad too punky for my liking, but the basics are in place. If nothing else, it features a very interesting selection of covers, marking the Whites as people with good taste from the start. De Stijl is a huge leap forward, and an album I can see myself returning to frequently. “Truth Doesn’t Make A Noise” is maybe the first great White Stripes song. White Blood Cells is the album that converted me, and still my pick for their best. I’ve always thought of Elephant as more of the same but not as good. Which is to say, still pretty good. Get Behind Me Satan was one of the biggest surprises here. It is certainly a larger, more elaborate-sounding album than the ones before it, but it’s a needed change of pace, and I think I may prefer it to Elephant. And finally, Icky Thump. If I had heard this all the way through I would damn well have remembered. It’s the most elaborate White Stripes album by a fair margin, and a sort of stepping stone to the sort of music Jack White would do on his solo albums. But there’s not a hint of dilution, here. The raw energy in tracks like “Icky Thump” and “Conquest,” and the Jimmy Page by way of Adrian Belew guitar squalls on “300 MPH Torrential Outpour Blues” are not the sorts of things you hear on an album by a band that’s past their prime. It’s a hell of a swansong, and probably my second-favourite of their releases. This is a really fun discography to mainline. I highly recommend gulping it all down in a week. You’ll have so much energy. I can’t wait to check out the lives and B-sides.

Television

Last Week Tonight: May 15, 2016 — Not among his funniest, but the standing invitation to Donald Trump’s alter-ego is a lovely little throw of the gauntlet.

Game of Thrones: “Book of the Stranger” — Okay, I asked for Daenerys to be allowed to do something, and as “doing things” goes, that is a fairly substantial thing. Actually, all of my complaints about the season thus far were at least partially rectified this time around, with Tyrion getting some actual story and a bit of decent writing, and the Wall finally getting interesting thanks to Jon and Sansa being reunited. Brienne continues to be the best thing in any given scene — my two favourite parts of this big, eventful episode are her confrontation with Melisandre and her lustful (I think?) glance across the table at Tormund. I’ll say this though:, killing off Ramsey Bolton won’t be enough. I’ll only forgive Game of Thrones when he gets retconned out of the universe.

Archer: Season 7, episodes 7 & 8 — “What are you all doing here?” “Lunch?” “It’s 5:30!” “Dunch?” I laughed very hard at most of these episodes. Archer in ordinary mode is still a very funny thing.

Comedy

Zach Galifianakis: Live at the Purple Onion — I think it’s good, but I didn’t actually laugh that much. Galifianakis is a really good joke writer who doesn’t seem interested in thinking in a straight line. The piano plunking, the characters and the crowd work are a deliberate structural choice that allows him to string together unrelated jokes. The jokes are good, but I can’t decide if the whole is greater or less than the sum of its parts.

Movies

Primer — Oh good god. If it weren’t for YouTuber LondonCityGirl’s illustrated explanation, I would be 70% clueless. This is an outstanding movie for those of us who like movies to be puzzles, and I do. That’s one of the reasons that time travel is my favourite SF trope. But I’m not sure I’ve ever seen anything quite as intentionally obscure as this movie. Having basically figured it out, with YouTube’s help, I now think this is one of the most ingenious hard(ish) science fictions I’ve ever seen. Without spoiling anything crucial, the key here is that the time travel mechanic enables an unprecedented amount of duplicity. The things that go wrong go wrong not because the machine doesn’t work as expected, but because people trick each other. Also, I love that this story clearly originated with the time travel mechanic. You don’t see that very much. Most people who write genre fiction use particular tropes because they already have a basic story and some themes in mind. This is obviously a story derived from the set of rules that its time machine imposes. If Brian Eno wrote a sci-fi movie, it might well be much like Primer.

Captain America: The Winter Soldier — Figured I’d catch up before Civil War. I hate cinematic universes because I want my stories to have endings. But as they go, Marvel’s universe is pretty good. This is far better than its pedestrian predecessor, and I’m actually hard-pressed to think of an MCU movie that I prefer to this. Maybe the first Avengers. The secret is the incursion of spy movie tropes into a blockbuster superhero movie, which is becoming a genre unto itself. The more that directors can play with genre to offset expectations, the better these movies will be. The Russos seem to be doing that best, at this point.

Literature, etc.

Kurt Vonnegut: Hocus Pocus — One of only two Vonnegut novels out of the ten I’ve read that I haven’t enjoyed. (The other is Player Piano, which is practically juvenalia.) There are occasional great lines, but so many of Vonnegut’s attempts at aphorism fall flat in this that I started to wonder if it might be intentional. One of the book’s key themes is that rhetoric (“verbal hocus pocus”) can be used to make people think illogically. So, when Vonnegut makes a statement that takes the basic form of a dark joke, but doesn’t seem to be based on anything true, it’s tempting to read redemptively and assume that he’s just offering concrete examples of the sort of fallacy he’s critiquing. But I’ve never seen Vonnegut go in for that particular kind of subtlety before, so I don’t honestly think that’s what’s happening here. Not good. But hey, they can’t all be masterpieces.

Elizabeth Alsop: “The Future Is Almost Now” — This Atlantic piece posits that science fiction is becoming more and more interested in the near future rather than the far future. It’s worth a look for anybody interested in the genre, or anybody just generally paranoid.

Kieron Gillen/Jamie McKelvie: Phonogram vol. 3 “The Immaterial Girl” — Absolutely marvellous. Gillen and McKelvie’s music fantasies are among the best contemporary literature, in or out of comics. Nobody has reckoned with the material effects of music and pop culture on people’s lives more incisively than they have in Phonogram and The Wicked and the Divine. And while the latter of those remains the easier one to recommend, this concluding arc of Phonogram is the best expression of their general thesis that music is never just music, but rather one of the forces that most powerfully animates human society. These are broad generalities, but to describe what they do here in any detail would likely make it seem trite. So instead, I’ll just urge you to read Gillen and McKelvie’s work. Start by catching up with WicDiv, then read the three collected editions of Phonogram in this order: 2, 1, 3. If you have ever been a superfan of anything, you will appreciate every panel in these volumes. If the thing you are a superfan of is music, you will have a new favourite comic. Possibly two. Pick of the week.

Thomas Ligotti: “Purity” — This is the first story in his collection Teatro Grottesco, which I managed to find at Pulpfiction, my absolute favourite bookstore in Vancouver, when I could not find it anywhere else, in physical or digital form. I needed to be shook up a bit, and I had heard that Ligotti was the man for the job. He has already begun. This story is properly creepy, with bits of mundane imagery taking on a grotesquerie that they simply ought not to have. Much is left unsaid, but it is all totally clear. And to boot, the story strongly reminded me of one of the creepiest things I’ve ever read, Michael Lutz’s Twine story “My Father’s Long, Long Legs.” A very promising start.

Podcasts

Now that my Podquest submission has had cold water poured on it gently, Radiotopia reviews will resume as usual.

On The Media: “Trending Topics” — It’s nice to hear a treatment of the Facebook trending topics scandal that actually gets to the root of the problem, which is that today’s tech giants have far too much control over the dissemination of information. Whether stories get traction by way of algorithms or human intervention, the kind of thing that’s likely to get huge on Facebook is not necessarily the kind of thing that people most need in their media diets. It’s also incredible to hear about the conservative economist who advocated for government intervention in monopolies (which may be a term that meaningfully applies to Facebook) in order to repair the free market. This episode also features a discussion with the New York Times public editor Margaret Sullivan that is interesting for its frankness about the Times’s shortcomings, but also interesting for the extent to which Bob Garfield allows it to be a straightforward valediction. I suppose not everyone needs to be afraid of him. But if he’s in softball mode during that segment, he roars back into righteous indignation mode in his final essay about the media’s sudden elevation of Donald Trump to legitimacy. To Garfield, talking to Trump about tax policy is “like asking Charles Manson about his driving record.” It is one of the best things that has been written about Trump since this whole boondoggle began, and I can’t recommend it enough. Even if you skip the rest of the episode to get to those last three or four minutes it’s worth your time. Pick of the week.

All Songs Considered: “The 1975, SOAK Covers Led Zeppelin, A Home Demo From My Morning Jacket” — A consistently interesting episode, but not one with a lot of songs I feel likely to return to — with the notable exception of Gaelynn Lea’s studio recording of the song she won the Tiny Desk Concert with. That is a remarkable piece of music.

On The Media: “How the ‘Fake News’ Gets Made” — Oh good, journalists can make funny things. This is Brooke Gladstone interviewing a bunch of satire writers and producers, all of whom came from journalism. So basically, you get Bob Garfield at his best in the main episode and Gladstone close to her best in this podcast extra.

This American Life: “Promised Land” — This episode of This American Life begins with Ira Glass singing an “I wish” song, and continues with pieces by Starlee Kine and the late David Rakoff. It is what public radio is for. Kine’s story about how her overprotective mother wouldn’t let her kids go to Disneyland (in spite of them living in L.A.) but would take them to the Disneyland Hotel twice a year is exactly the kind of story you want to hear from Starlee Kine, and Rakoff’s piece about fasting and not finding enlightenment is exactly the kind of story you want to hear from David Rakoff. Then it ends with a story from Hillary Frank from The Longest Shortest Time, a parenting podcast that I do not intend to listen to. But this story is absolutely riveting. You know when your friend says, “I heard the craziest conversation on the bus,” and then tells the best story you’ve heard all day? This is that story, except the best one ever. This is light on reporting for TAL, but it’s mercilessly consistent.

Sampler: “Mother Podcast” — This is Sarah Koenig on Sampler, which is a reason to listen to Sampler. It’s awkward at the start, because Brittany Luse insists on saying a bunch of the gushy stuff that should have been consigned to the intro while Koenig is actually in the room, which puts Koenig in the uncomfortable position of having to react to fervent praise in public. It gets better from there, but not by much. The concept for the episode must have seemed solid: here are a bunch of podcasts that have been born in the post-Serial world — “Look what thou hast wrought, Koenig!” But Koenig doesn’t seem much more than bemused at the clips Luse subjects her to. For all her staggering success, Koenig doesn’t belong to the crazy world of podcasting that virtually all of the Gimlet staff does — even those who had prominent public radio careers previously. She’s a reporter. Playing her clips from Hello From the Magic Tavern is pretty counterintuitive, improv background or no. Not good.

Bullseye: “Maria Bamford & Wanda Sykes” — That’s a hell of a double bill. These are the kinds of interviews with comics that you want to hear. Bamford is charming and has an uncanny ability to find the humour in terrible, uncommon things that have happened to her. Sykes is super sharp and a great storyteller. The best talk radio I’ve heard in awhile.

99% Invisible: “Separation Anxiety” — And, we’re back! During my Radiotopia reviewing hiatus, 99pi continued to interest me casually but not blow me away. This episode is about trash disposal in Taipei, and also San Francisco. I recently listened to a bonus interview with Roman Mars for Radiotopia supporters, and one thing he mentioned that I was happy to hear him mention is the fact that many episodes of 99pi don’t really have stories — they just explore an idea for a while in a logical fashion. That’s kind of what this episode does, and I so appreciate that there’s a show that has the guts to do that. I’m all for storytelling, but it’s also a dogma among media producers. There are other ways to impart information in an entertaining fashion.

Imaginary Worlds: “The Robot Uprising” — There are apparently people, or at least one person, who advocates for robot’s rights on the basis that the same justifications are used to deny the humanity of black people are being used to deny the humanity of robots. Eric Molinsky is rightly confused by this idea — surely, robots actually aren’t human? But he doesn’t push quite hard enough. There are times on this show where I feel like Molinsky is offering a sort of menagerie of strange worldviews without taking any of them to task. Still fun, though.

Invisibilia: Season 2 trailer — I think it’ll be good, but this show can be awfully cloying at times. They don’t even totally avoid it in this three-minute trailer.

The Memory Palace: “Open Road” — I’m so glad to get to review The Memory Palace again. I love this show so goddamn much. Anyway, this is about the Green Book, the guide for black motorists in pre-Civil Rights America. It is the second Radiotopia treatment of this topic in just a few months, after 99pi’s, but I think I prefer this approach. Just a gorgeous, semi-imaginary story with beautifully-drawn imagery. Really nice.

On The Media: “Ghosts” — Collectively, the episodes of On The Media I listened to this week did me more good than anything else this week. This special episode on the uses and misuses of collective memory demonstrates just how thoughtful this show can be. It isn’t hemmed in by the news cycle; there’s so much more it can do.

Pop Culture Happy Hour: “Money Monster and Eurovision” — I’m really shocked at how little they trashed Money Monster. I mean, I know it’s called Pop Culture HAPPY Hour, but that movie does not look okay. Also, Glen Weldon’s enthusiasm for Eurovision is one of the few moments where he can honestly be described as “adorable.”

Omnireviewer (week of May 1, 2016)

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Another week of good, or at least interesting music. And some other things. 18 reviews.

Music

Brian Eno: The Ship — Eno has been doing ambient music for a long time now. It’s only natural that it would start to seem paint-by-numbers at some point. The 21-minute title track of this album is perfectly fine music, but it has little to recommend it over other ambient music. Eno’s musical offspring have long started to outstrip him. Compared to Tim Hecker’s latest release, for instance, The Ship is pretty unadventurous. Perhaps it’s not a fair comparison, but there was a time when Eno’s ambient music was equally interesting as a backdrop and as a focussed experience: I’m thinking particularly of Music for Airports and On Land, but also some of his collaborations with people like Harold Budd and Daniel Lanois. This doesn’t hold up to scrutiny quite so well. There are a lot of string and wind samples that sound like presets on a high-end workstation keyboard. In a piece of music this minimal, everything comes down to timbre. So, the use of dodgy samples is bothersome. The second half of the album, “Fickle Sun,” fares better. In fact, it’s pretty great. Eno’s singing voice sounds essentially the same as ever, but he’s gotten better at recording it. And the Velvet Underground cover at the end doesn’t feel tacked on. It actually works. And Eno sounds distinctly like he’s singing his favourite song. But I must admit, I’m a bit let down that Eno felt the need to make a concept album. (And, if you read his notes on the album on his website, it does seem clear that that’s what this is.) I’ve always particularly admired Eno for his devotion to pure process. His art isn’t oversignified: it just is. It is simply a thing that resulted from him using a certain method. The Ship is about things. Specific things. And that disappoints me. To be clear, this is the idiosyncratic response of a person who has thought about Eno enough to love him for very idiosyncratic reasons. Good on him for not being the same kind of artist he always was. After all, it’s not like Eno hasn’t made a career out of confounding expectations. It would be wrong and strange to hold him to my particular standards. Half of The Ship is very good music. Let’s leave it at that.

Moon Hooch: Moon Hooch — This is extraordinary. These guys have found a plausible way to make modern dance music with acoustic instruments, and without entirely leaving behind their roots in jazz and funk. This studio album doesn’t quite have the insane verve of their Tiny Desk Concert, and I suspect their full sets are absolute madness, but I still really enjoyed this.

Timo Andres: Shy and Mighty — I have been underwhelmed by Andres before, but this album of music for two pianos is everything I love about modern post-minimalist music. It isn’t dogmatically minimalist in the way that some classic Steve Reich is (though I frequently love that music), it just takes the sound and rhythms of minimalism and runs with it. I’m reminded of Bryce Dessner’s Music for Wood and Strings, which came out substantially after this, but also defines the sort of music I most want to hear from today’s composers. It is also possibly the most listenable grad school thesis ever produced.

Gentle Giant: The Power and the Glory — Of the really classic Gentle Giant albums (by my estimation, from Octopus through Interview), this is the one that I’ve neglected over the years. The simple reason for that is that it was the one I didn’t have on CD as a kid. But it’s actually nice to have one masterpiece by one of your favourite bands that you aren’t overfamiliar with. Because The Power and the Glory still surprises me, and also it’s blatantly one of the best Gentle Giant albums. Possibly the very best one. Derek Shulman’s voice was never more extraordinary — he’s in his high register for nearly the full album, but still maintains the timbre of a rock baritone. The rhythm section has their work cut out for them, with all of the metric shifts in this music, but they manage to be not mere timekeepers and actually imbue the music with some groove. Gary Green reaches his studio apex here, though his guitar solos always pop more in a live setting. And, Kerry Minnear even deigns to take a proper organ solo in “Playing the Game,” which proves that he could have been Keith Emerson if he’d wanted, but he’d rather emulate Glenn Gould in a rock band. Really, Power is one of the undersung gems of the entire prog rock canon. It’s even the right kind of concept album: a vague story of a despot with just enough of a narrative to hang a set of anti-authority sensibilities on. I stopped midway through an episode of On The Media to listen to this again, and realized that it really is the prog album you want to listen to in primary season. Really puts the “progressive” in progressive rock, for once. Also, “Cogs in Cogs” is possibly the best distillation of prog you’ll find in under four minutes. Pick of the week. (Didn’t I tell you that a 40-year-old rock album would take this prize at some point?)

Television

Unbreakable Kimmy Schmidt: Season 2, episodes 7-13 — Oh, much better. This season was backloaded with all of the good episodes. It’s mostly the small jokes that I love. (“Sup.” “Sup.” … “Sup.” “Soup?”) But, there are great ongoing plotlines here as well. The seventh episode features one of the best stories on the show so far, complete with machinations of the unscrupulous wealthy. Jane Krakowski and Anna Camp are hilarious together in every scene. And once Tina Fey shows up to do battle with herself as two different sides of the same character, the season really cooks. The season finale is wonderful for all of the reasons that this show is, at the best of times. Without getting earnest, and without abandoning joke density for as much as a minute, the show allows Kimmy to have a minor epiphany and grow as a person. Like The Ship, half of Unbreakable Kimmy Schmidt‘s second season is very good.  

Game of Thrones: “Home” — Alright, I got angry too early last week. This episode is pretty fantastic, actually. But there’s no reason it shouldn’t have been the first episode of the season. I’m especially enjoying the King’s Landing plot. If this entire season could just be the struggle between the Lannisters and the High Sparrow’s army, that would suit me fine. (Though that may just be my particular love for Jonathan Pryce talking.) Meanwhile, Bran is back, and I’m actually fairly excited to find out where that’s going.

Literature, etc.

Kurt Vonnegut: Hocus Pocus — This continues to be one of the lesser Vonnegut novels I’ve read, and I’ve read all but four, not counting this one. But, I just read a three-page chapter with an allegory involving being trapped in an elevator that was so perfect, and came with such an unexpected punchline that I was suddenly reminded why I love Vonnegut more than most other novelists. (That said, Joseph Heller’s blurb about this being Vonnegut’s best novel is insane. But then, Vonnegut though Heller’s best novel was Closing Time.)

Lois Tyson: Critical Theory Today — Given that I write about art for a living, I have always felt compelled to understand critical theory better than I do. I’m in this weird position where I have a masters degree, yet I still feel like my education is the equivalent of two professional programs: one that taught me the trade of making music with an acoustic instrument, and another that taught me how to write words on factual topics that I can sell and that can get me contracts and (theoretically) jobs. So, I don’t have an especially solid grounding in theory. And I’m interested in theory. Tyson’s book has the reputation of being a relatively simple survey of the major currents in theory — a starting point, after which you might better understand the works of the major theorists — and the previous edition of it is available for free online. I’m going to dive into this. So far, it is eminently comprehensible. So, that’s a good start.

Podcasts

Planet Money: “Lance Armstrong and the Business of Doping” — Telling the story of Lance Armstrong’s doping ring with a business angle is a masterstroke. This is the best episode of Planet Money that I’ve heard.

StartUp: “Pirate Needs Pirate” — I listened to this at the grocery store right across the street from the old Pirate Joe’s location that this episode is about. That little coincidence probably makes me favourably disposed to it from the outset. But it really is a pretty great story. It follows the owner of Pirate Joe’s south to a proper Trader Joe’s location, and captures the experience of surreptitiously purchasing in bulk for resale. That’s more fun than it sounds. And it’s got a fantastic main character. This is really great radio. Pick of the week.

Pop Culture Happy Hour: “Silicon Valley and Bob’s Burgers” — This contains the first interview I’ve heard Stephen Thompson do, and I would like to hear that more often. The second segment of this show is Thompson’s interview with Loren Bouchard, the creator of Bob’s Burgers. Rather than just talk about the show broadly, they dive into the dodgy territory of television merchandising and why the Bob’s Burgers cookbook had to actually be good. Worth hearing for that segment alone.

Pop Culture Happy Hour: “Remembering Prince” — Almost missed this! Glad I didn’t miss this. Still, there’s only so much you can say about Prince, and as far as NPR’s concerned, Ann Powers basically said it all on All Songs last week.

On The Media: “In The Shadows” — This episode tells the story of how America arrived at the two-party, one candidate per party system of presidential elections. If you’re not interested in that, who are you?

All Songs Considered: “Suuns, Autolux, Adult Jazz, Mutual Benefit, Let’s Eat Grandma” — It’s nice that they let John Congleton sit in, but they really ought to let him do a proper guest DJ episode. In the meantime, the indisputable highlight of this show is “Rapunzel” by the wonderfully-named group Let’s Eat Grandma, two friends who are all of 16 and 17 years old. It’s a haunting, complex, piano-driven piece of music with wonderful lyrics about being named Rapunzel and not identifying with the fairy tale character at all. It’s brilliant, and I can’t wait to hear more.

On The Media: “A Face in the Crowd” — I haven’t listened to Sara Fishko in ages. In this OTM podcast special, she dives into the movie A Face in the Crowd, which is now being touted as a prophecy of Donald Trump’s presidential campaign. I should listen to Fishko more often.

Imaginary Worlds: “Humans: New & Improved” — Molinsky tackles transhumanism. Between this and the previous episode on economics in genre fiction, he has essentially proved the material impact that genre fiction has on legitimate, real-world discourses. And the transhumanists he talks to are just normal folk!

Pop Culture Happy Hour: “Free Comic Book Day and Keanu” — It’s that time of year again! It remains to be seen whether I’ll take in Free Comic Book Day, this time. It also remains to be seen whether I’ll see Keanu. But I’ve never listened to this show to help me make decisions.

On The Media: “The Centre Cannot Hold” — This and the previous full episode of OTM taken together do an incredible job explaining the strained status quo of America’s two-party system. These two hours of radio might be the best contextual journalism done in this primary season. Also, Brooke Gladstone uses Mozart (I think it’s Mozart?) as a punchline here, and it’s brilliant. There’s nothing funnier than the most elegant music ever composed being juxtaposed with contemporary American politics.

Omnireviewer (week of Apr. 17)

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18 reviews. I am beginning to feel like a human again.

Movies

The Jungle Book — I liked this way more than the critical consensus! The casting is universally marvellous, it handles its substantial tonal shifts with grace, and it is absolutely beautiful to look at — 3D notwithstanding. Could we please just be done with 3D? My major complaint is pretty minor, actually. The movie shoots its most effective sequence in the foot by insisting on maintaining an iconic song from the original animated film. The entire scene with Christopher Walken’s gigantic King Louie is magnificent and sinister — but if it’s going to have a song in it, it really should have been a proper Disney villain song. Something in the vein of “Be Prepared.” But still, they insisted that this drastically different take on the character sing the same song, for some reason. It’s a major tonal misstep during an important sequence. After all, King Louie represents an approximate halfway point between Mowgli’s beloved jungle and the man village that beckons to him regardless. If Louie were less obsessive and maniacal, turning him down would actually be a major decision for Mowgli. And, even with “I Wanna Be Like You” excised from the movie proper, Walken would still get to sing it in the end credits. All that aside, if Disney is going to keep reliving past glories indefinitely, we can’t ask for much better than this.

Literature, etc.

Kalefa Sanneh: “The Rap Against Rockism” — This was cited in another, shorter thing I read (see below), and I couldn’t remember if I’d actually read it or just everything that came after it. So, I had another bash, and still can’t recall if that was my first or second time through. It’s doubtless a magisterial piece of criticism, but it’s been effectively built on so thoroughly and satisfyingly by other writers that it’s hard to actually see it as dazzling. Still, if you’re unfamiliar with the tiring but still relevant Rockism v Poptimism debate, do have a skim.

Katherine St. Asaph: One Week // One Band, Kate Bush — I joined Tumblr! And I immediately found a blog that will now consume my life. The idea is that every week, a different writer takes a deep dive into a different artist’s catalogue, in Tumblr’s requisite short (okay, medium) chunks. St. Asaph’s Kate Bush series focusses specifically on The Red Shoes, which she rightly believes is not the worst Kate Bush album, like everybody insists on saying. This is really good, really fun music writing that you owe it to yourself to check out, along with the rest of the blog. Like most of the internet, it could have used a proofread, but you know. Small potatoes.

Music

Kate Bush: The Dreaming — Probably the best Kate Bush album, and for a long time my favourite. These days, I tend to prefer the more direct pleasures of Hounds of Love, but there’s nothing like this in the right mood. For an album so intentionally strange, it has a surprising visceral effect. “Suspended in Gaffa” kills me every time. And St. Asaph’s writing (see above) ensures that I will never hear “Get Out of My House” the same way again.

Prince: Purple Rain — First off, a shout out to Minnesota Public Radio for doing God’s work the day Prince died. Prince spent the last twenty years of his life trying to get all of his music off of the internet, quite successfully, really. So, on a day when everybody wanted to listen to Prince on the internet but couldn’t, The Current provided an essential service by playing the bulk of the back catalogue. People who worked with, knew, or just met Prince called in with stories between cuts, and it was moving to hear the DJs gradually realize that it wasn’t just Minnesota that had tuned in to mourn with them, but also the entire internet. This was the first time I’d really sat down and listened to a bunch of Prince — one of those artists who I’d always figured I’d get into eventually, but never put in the time. I heard a fair bit of the ‘80s stuff on MPR, including this whole album, which is a marvel, obviously. Prince was a virtuoso in every sense: he’s like Michael Jackson, Jimi Hendrix and Paul McCartney rolled into one person — at least in the sense that he possessed all of those artists’ best traits. He didn’t sound like any of them. “Let’s Go Crazy,” “The Beautiful Ones,” and of course the title track, are classics. It’s tempting to write something along the lines of “it’s too bad that Prince had to die for me to finally get into him,” but that’s not actually what happened. I just needed somewhere to hear his music online. Thank you MPR. Prince would be happy to know that I’ve since purchased this, and will surely listen to it many more times.

Games

EarthBound — I’m making extremely gradual progress through this massive, difficult game that’s clearly meant to be played for more than a couple hours a week. But I’m really starting to enjoy it now. The combat gets more exciting once you have multiple party members to control and strategize with, and a wider variety of items and spells. Story-wise, it continues to be a bit lighter than I expected. But, here’s something interesting: this game is really anti-authority. Looking at screencaps, you might expect it to be pretty innocuous. But, in this game, policemen are corrupt at best and violent towards children at worst, organized religion is an absurdity and an evil to be defeated, the wealthy are openly spiteful and unscrupulous, and your father is a lazy absentee. I’m expecting all of this to come to a head at some point. If the world of EarthBound is, as many have said, a Japanese take on contemporary America, they must think it’s a pretty dire place. And, of course, they’re right.

Comedy

Josh Gondelman: Physical Whisper — There’s some gold in this, and some stuff that’s sort of whatever. The absolute best moment comes at the end of a story about an interaction with a homeless man in a train station. You should listen to this for that story alone.

Television

Archer: “Deadly Prep” — JETHRO TULL JOKE! They did a Jethro Tull joke! Ahem. This was fine. Some funny moments with Lana and Malory, and a bit of actual pathos in Archer’s story. That is all.

Unbreakable Kimmy Schmidt: “Kimmy Goes Roller Skating!” — I’m going to put this in the most white dude fashion I know how: there some, ah, there’s some race stuff in this that I’m unsure about. And in addition to being kind of eeeeeee, that stuff is also the unfunniest element of this premiere episode, which I honestly didn’t enjoy very much. I’m honestly shocked that I only watched one episode in the last week. I will finish the season, and I imagine it’ll pick up. There’s no way that a show as good as it was in its first season is worn out already. I hope.

Better Call Saul: “Klick” — That is possibly the best final shot Vince Gilligan has given us since Hank discovered Leaves of Grass in the bathroom. If last week’s episode had more in the way of plot fireworks, this week’s finale gave us the clearest picture yet of Jimmy and Chuck’s respective, and differently problematic sets of ethics. There’s no rule Jimmy won’t bend given a good reason or a sufficiently difficult alternative, but he’d do anything for the people he loves. Chuck will follow the letter of the law with pedantic accuracy, but his immense capacity for spite causes him to act with shocking cruelty towards his own brother. This has been an outstanding season of television. I can’t wait for the next one. Pick of the week.

Last Week Tonight: April 18, 2016 — People who watch clips of this on YouTube rather than whole episodes miss some really great stuff, i.e. a truly horrifying montage of documentary promos from WCBS 2 News. At least once, watch the whole show. Really.

Podcasts

StartUp: “Almost Famous” — A little dull. I feel like this is retreading familiar beats from previous seasons, even though it’s a total change of format. But on the other hand, since it isn’t serialized anymore, I guess I don’t have to worry about spending a whole season with this less-than-interesting story. It’s fine, not great.

Pop Culture Happy Hour: “The Mindy Project and Romantic Comedies” — These are two topics that are not especially interesting to me, but I always love hearing Linda Holmes talk about romantic comedy. It’s one of her especially shimmering areas of specialization. This also has some truly choice Audie Cornishisms. I should really start listening to the All Things Considered podcast.

This American Life: “Middle School” — This show is at its best when it handles mundane stories. This episode details stuff that happens all over America (and Canada) every weekday, but which nobody in the adult world really pays attention to. It couldn’t be more relevant, in the sense that middle school affects everybody, whether they’re a child or a parent, or just a former child. But what I love most about this is, as with all of the best TAL, there’s no sense of “import” to it. It’s fun, full of pathos, and delves into a huge part of modern life. Pick of the week.

The Bugle: “Sick Bugle” — Their second episode after a long time away (and an even longer time of me being away from them) was delayed by the illness of international superstar John Oliver. So instead, we get a compilation of all of the best stuff from previous Aprils. Which is just what I needed to start loving this again. As comedy podcasts in the venerable subgenre of “two guys talking” go, this is head and shoulders above absolutely everything else. What’s consistently amazing about it is that international superstar John Oliver is actually the slightly less funny of the two hosts.

All Songs Considered: “Sturgill Simpson Talks About His ‘Guide To Earth’” — I’m conflicted about whether or not I’ll listen to Sturgill Simpson, and moreover, I can’t decide whether I’d go with the new one, or that really acclaimed one from a year or two ago. We’ll see. In any case, I’ve heard a few of the songs now, so when it’s on a bunch of year-end lists, I’ll be able to say, “eh, alright.”

Pop Culture Happy Hour: “Small Batch: Comedian Josh Gondelman” — I have to know what that story is that Linda likes so much, so I’m going to go listen to his album. See above.

On The Media: “On Shakespeare” — I love when Brooke Gladstone becomes this kind of media critic. She’s less interested in news critiques than in understanding the transmission of information. And, no information has been more complicatedly transmitted than Shakespeare. This starts off with a fairly familiar survey of the bunk theories about Shakespeare not having written Shakespeare, and mercifully, it doesn’t entertain any of them. But it goes on to tell the fascinating story of Delia Bacon, the originator of the Baconian theory (named for Francis Bacon, no relation). Then it tells the story of a production of Love’s Labours Lost in Afghanistan during a lull in Taliban power. Both of those are stories I’d never heard and they are really interesting.

Omnireviewer (week of Apr. 10)

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Back to sanity, with 22 reviews.

Music

Tim Hecker: Love Streams — I expected to love this, and I did love it, but It’s certainly not what I expected. Tim Hecker is interesting: from what I’ve heard, he spent his early career making a number of very similar, very static albums. But over his last two albums, he has become an artist with the capacity to surprise. Love Streams is pure ear candy. I loved it immediately. No resistance. It’s still abstract and meandering, and fairly abrasive in parts. But there’s a sweetness in this album that has been nowhere near a Tim Hecker album before. It’s partially the choir. But even when the choir’s not around, there’s a general sense of consonance here that’s basically the polar opposite of the music on Virgins, which remains the darkest and strangest album of Hecker’s career. And that consonance makes the moments where the music is ripped apart by noise all the more compelling. Really good. Up there with Bowie, Congleton and Kopatchinskaja as my favourite music of the year so far. Pick of the week.

Tim Hecker: Ravedeath, 1972 — I went into this expecting it to be a departure from Hecker’s early stuff, towards the heterogeneity of Virgins. It’s not that. It’s merely the best of Hecker’s pre-Virgins albums. That’s not nothing, but I think that Love Streams proves that we’ve been dealing with a fundamentally different (and more interesting) Tim Hecker since 2013. I am far more excited about the prospect of hearing what he does in the coming years than I am about completing my survey of his back catalogue.

Patricia Kopatchinskaja: Take Two — After being blown away by Kopatchinskaja’s totally bonkers take on the Tchaikovsky concerto, I figured I should check her out in a more conventional setting for her: namely, playing a 70-plus-minute programme of fragmentary duets with musicians of all stripes in modern and early repertoire. This disc isn’t the sort of thing that anybody is likely to obsess over who isn’t a contemporary musician themself. In fact, maybe the presence of this alongside Tim Hecker in these reviews marks a division: two figures making music that would inevitably be described as “difficult” by somebody without a preexisting interest. But in Hecker, we find a person with roots in techno, making music that is as immersive as it is abstract — and which is accepted by the indie music press far more so than the classical music community. In the sort of modern music that Kopatchinskaja plays, we often find a sort of austerity or high conceptualism, even when it is presented with the intention of playfulness. Heinz Holliger comes especially to mind. But Kopatchinskaja is the real thing. She provides a throughline on this otherwise head-spinning set of diverse pieces. She might be the best musician ever at the task of bringing out the latent fun in inaccessible music. (The fact that she defines “serious art” as “the art where you always fall asleep” must help. She venerates pop artists for their polyvalent tendencies in her fascinating and sympathetic liner notes.) And to top it off, the disc ends with a suitably heretical performance of the Bach Chaconne with improvised accompaniment on harpsichord. Just because something is perfect the way it is doesn’t mean you should do it that way every damn time. Kopatchinskaja is without a doubt my favourite living violinist, and I could see this CD becoming a favourite of mine with repeated listens. But that would require me to listen to it again, and that’s always the question, isn’t it?

Live events

Philippe Herreweghe and Collegium Vocale Gent: Live at the Chan Centre — This was a performance of Orlando di Lasso’s masterpiece, Lagrime di San Pietro, which is probably tied with the Monteverdi Vespers for my favourite large work written before Bach’s time. The final motet, “Vide Homo,” that Lasso appended to the end of the preceding 20 madrigals, is one of the great moments in the whole history of Western music. I can’t pretend to fully understand it; my grasp of pre-tonal theory is shaky at best. But here’s what I know: it comes after 20 numbers sung in Italian, set to words from a single sacred poem. Those 20 numbers gradually go through each of the established musical modes codified by the church. (By mode, I mean a kind of scale. It’s like a “key,” before they invented keys.) And then, in that final number, the language switches from the vernacular Italian to the sacred Latin, the speaker switches from the narrative voice and that of Saint Peter to the words of Christ, and the music is suddenly no longer based on one of the sanctioned church modes — it is entirely unearthly music, reflecting the voice of Christ. You don’t have to be religious to recognize that this is pretty damn extraordinary. It’s also a gigantic penitential guilt trip, composed by a man who feared deeply for the fate of his immortal soul. Lagrime is serious business, and deserving of serious adulation. All the same, this was one of those concerts that I went to for the rep, but left in awe of the musicians. Herreweghe conducted his singers with restraint befitting such an austere piece of music, and his Collegium sang with some of the most astounding blend and sensitivity that I’ve heard in live choral singing. Two curtain calls and an encore. Really astonishing. If you can hear this group live, do.

Movies

Eye in the Sky — This movie is too movie. Its plot is an extended trolley problem (the single most cliched plot element in political thrillers) wherein the ethics of killing one to save many are… not so much debated endlessly as merely fretted over endlessly. As always in these scenarios (see especially the equally problematic but far better executed 24), the arguments given against such an action are never backed up with a philosophy or clear ethics. In Eye in the Sky, the people making objections come off as cowardly, indecisive, political, or sentimental to the point of not being able to do their jobs. And that’s not just a political objection from me, it’s a fundamental storytelling problem as well. If you’re going to make a movie that’s about people repeatedly not firing a rocket and talking about why, you had damn well better offer a compelling ethical difference. Otherwise the whole movie is just an extended sequence of “I’m going to do this thing!” “Oh, no you’re not!” And that is basically what Eye in the Sky is. None of the roles in this movie are particularly demanding on their actors, but I would be remiss not to mention that the lamented Alan Rickman is once again far better than the movie he’s in.

High Rise — Okay. So, this is a movie that was made specifically to cater to certain aesthetic tastes that define me. It’s basically Roeg and Cammel’s Performance meets Lindsay Anderson’s …if meets A Clockwork Orange with a heavy dollop of Brazil. It is openly anti-capitalist, and based on the same source material (J.G. Ballard’s eponymous novel) as one of my favourite classic Doctor Who stories, “Paradise Towers.” When a movie is carrying all of the same cultural baggage that I am, it is honestly kind of hard for me to tell whether or not it’s good. Certainly it’s brutal. (Brutalist, even.) Certainly it doesn’t make sense in a way that seems very intentional. But it also has a sense of fun about its total bleakness, some truly great lines, the only Tom Hiddleston performance I’ve found convincing outside of the Marvel Cinematic Universe, and Jeremy Irons in the exact kind of role people should always cast Jeremy Irons in. When it gets a wide release, you should probably see it if you’re not squeamish. I’m not saying you’ll like it — I’m saying I have absolutely no idea if it’s any good or not, so you should just go see for yourself. I loved it.

Television

Last Week Tonight: April 10, 2016 — There is a joke in this about getting a credit check to work at a fireworks store that is one of the cleverest things I’ve heard in many months. This show gets a lot of credit for “destroying” things. But maybe it doesn’t get enough for sharp writing.

Better Call Saul: “Nailed” — “Sometimes the good guys win,” he says. Hoo boy. The scene where Chuck makes his allegations about Jimmy in Kim’s presence is probably the best scene this show has ever done. And it’s surrounded by other incredible scenes: the Mesa Verde hearing, Jimmy’s schoolyard video shoot, Mike’s heist, Kim telling Jimmy euphemistically to burn the evidence, and the whole sequence with Lance the copy guy. By sheer accretion of perfect scenes, this is probably the best episode of Better Call Saul. I still think I prefer “Rebecca” and “Marco” for their relative focus. But holy hell is this season drawing to a rollicking conclusion.

Literature, etc.

Kurt Vonnegut: Hocus Pocus — I usually devour Vonnegut novels. This one is taking me a while to get into. It’s got an intriguing setup and already a few great aphorisms, but the only other time I’ve been this uninvested in the early chapters of a book by Vonnegut was when I read his dodgy first novel Player Piano. I find it odd that critics of the time treated Hocus Pocus as a return to form, considering that his previous two novels were Galapagos and Bluebeard, both of which are really strong in my opinion. Bluebeard especially. I’m sure I’ll like this better once I’m halfway through it or so.

Games

EarthBound — “Peaceful Rest Valley ahead. Proceed through cave.” I’m starting to really enjoy this. I do wish there were a few puzzles, or choices to be made, and a bit less RPG combat. But it’s witty and unassuming in a way that’s really refreshing for a game from this period. And wandering around the towns, talking to people and reading billboards is actually a lot of fun. Call it the anti-Zelda.

Podcasts

StartUp: Season 3 Teaser — Well, I’m sad that they’re not doing another serialized story. On the other hand, focussing on the make-or-break moments of various companies’ early lives is a solid premise for a season. It worked when The Heart did it with relationships. Looking forward to this.

Imaginary Worlds: “Becoming Godzilla” — This feels slight after the Cthulhu episode, but any story about a guy spending months of his life building a Godzilla suit is going to have a certain amount of charm. (Also, that’s ELP low in the mix at the start. A tribute to Emerson, I assume. Though, for a show about a giant monster, one would think “Tarkus” would have been a better choice than “Toccata.”)

This American Life: “For Your Reconsideration” — Wow, it’s been a long time since I listened to TAL. I should never have been away so long. First, there’s a story about a previous TAL story being wrong — not their fault; there was a fake, peer-reviewed study — and they manage to make the wrongness of it into a more interesting story than the first one. Plus, they excerpt the best bits from a fascinating, high-stakes, 60-minute conversation from the podcast Beautiful Stories From Anonymous People. I suspect that the full conversation would have killed me to listen to, but the moments included here, with commentary from TAL’s editor, are gold. There was a moment in there that made me fist-pump as I was walking down the sidewalk.

On the Media: “Rolling In It” — Okay, I guess that great outtake from last week did make their main hour. No matter. This is still amazing. If you want to understand the Panama Papers as a media phenomenon, here’s your thing.

Bullseye: “Ellie Kemper & Glen Weldon” — This is a heck of a set of guests. Two fabulous conversationalists. Kemper is apparently as fun in real life as she is on Unbreakable Kimmy Schmidt. And it’s fun to hear Weldon in a non-PCHH context. Jesse Thorne is a little ingratiating during Kemper’s interview, but he’s also done his homework for both of these interviews. He’s probably the closest thing there is to my ideal pop culture interview show host. I’d still really like to hear a show where the host goes deep into textual analysis with the creator of the thing there for verification, and this is not that. But you can’t fault a notepad for not being a treehouse.

Welcome to Night Vale: “Antiques” — I can’t tell if “Antiques” was actually substantially better than the episodes that preceded it, or if I was just in the right mood. But every segment of this was really funny: especially the one about the child with the very long tongue who distresses Cecil very much. But also the premise of a bunch of antiques escaping from the antique shop is great. It’s Night Vale by numbers, but it’s the best that Night Vale by numbers gets.

All Songs Considered: “New Mix: The National Covers The Grateful Dead, Free Cake For Every Creature, More” — Nothing here jumped out and made me want to buy, but I’ve listened to that Dawg Yawp track a couple times. Appalachian folk with sitar. Imagine.

Reply All: “Baby King” — The “Yes Yes No” segment continues to be better than the story it follows. However, this story about a company that made GIFs before there was a grammar and syntax for them is fascinating, and concludes with a lovely bit of reflection by Alex Goldman on the fragility of the internet.

WTF With Marc Maron: “David Simon” — Maron isn’t entirely aware of the extent to which he is not Simon’s intellectual equal, but he facilitates a really interesting conversation and allows Simon to get angry about the things we all want him to get angry about: capitalism, the drug war, etc. And you don’t hear a lot of Simon taking, these days. That in itself makes this worth a lot. Simon is enthralling.

Pop Culture Happy Hour: “Small Batch: Ta-Nehisi Coates on Black Panther” — The best interview I’ve heard in ages. Turns out, Ta-Nehisi Coates is as incisive on comics history and nerd culture as he is on race. Audie Cornish gives him plenty of room to be massively thoughtful about both. It is so cool to hear him say that his introduction to the wonders of language came through hip-hop, Marvel Comics and Dungeons and Dragons. Honestly, that really is a trifecta of inspiration that you could expect to produce a MacArthur genius. Pick of the week.

On The Media: “That NPR Thing” — This is useful context for those of us who live outside the reach of any NPR member stations, for whom NPR is effectively a podcasting company. Because, here’s the thing: NPR is not a podcasting company. And NPR’s top brass are becoming openly hostile to their company’s own efforts in that form. This also contains a fascinating doc about movie novelizations. Super interesting.

Podcast-adjacent things

Cast Party — After months of thinking “oh yeah, I should really check that thing out sometime,” I finally did. This is that thing that was advertised non-stop on Radiolab and Reply All for a few weeks back when it happened. It’s a live performance by a bunch of amazing podcasts, including those two, The Truth, and Invisibilia. Sometimes, Cast Party reminds you that podcasters aren’t necessarily performers. Reply All, my favourite podcast of this bunch, isn’t served well by having its two charmingly neurotic hosts spotlit and stared at. They pull it off, but you get the sense that they’d rather be alone in a dark studio. Their story is great — most of these are — but there’s an overall sense of “you had to be there” surrounding this. If you’ve been on the fence about whether to shell out the dollars, consider the amount of goodwill you have towards these shows, then consider that it isn’t very good, then decide against it.

Omnireviewer (week of Apr. 3)

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What a week. I’ve been off work, and getting a bunch of necessary things done: a bunch of cleaning, a bunch of writing — also a bunch of running and a certain amount of riding the bus to pubs, bonfires, etc. So, a lot of music and a lot of podcasts. But there have also been many hours of sitting around, regathering my sanity, and innumerable cups of tea. Thus the television, the game, and the reading.

The result of all that is, I think, my largest Omnireviewer post yet. (I’m not going to take the time to verify that.) There are 35 reviews here, and that’s with me having grouped a number of things together (and still excluding Radiotopia reviews for Podquest reasons). Counting every episode, album etc. as one would give me the shattering total score of 42. (Which is a lovely coincidence, considering that Douglas Adams makes two appearances here.)

In recognition of this large, large number, I have allowed myself to choose three picks of the week: one podcast and two others. But frankly, even if it had been a normal week, I would have been tempted to do the same. The first two picks of the week you’ll come to are things that I believe should be and will be talked about for years. This hasn’t just been a week of cultural gluttony: it’s been a week where I’ve come across a number of really astonishing things in a short period of time. And frankly, for all the time it’s taken, I think it’s also inspired me to get more done.

We’ll begin with something I watched a week ago, which seems like a strangely long time.

Television

Horace and Pete: episodes 9-10 — (I despise the concept of spoiler warnings, but I’m willing to concede that the finale of Horace and Pete is probably best unspoilt. After all, this show was released as a complete surprise for the explicit reason that C.K. didn’t want the hype machine to affect the way that people saw the show. I think that was wise. This is therefore the only spoiler warning you’ll ever see on my blog.) Louis C.K.’s critique of American values ends two ways. In the first way, Pete dies tragically and Horace decides to change his attitude after an encounter with a supernaturally nice woman played by Amy Sedaris. The story fades to black over the strains of Paul Simon’s “America.” We are reminded that regardless of the divisions in American society (divisions that have been shown to date back decades, to when Uncle Pete was vehemently anti-Gerald Ford), and regardless of the tragedies that befall individuals, America soldiers on. This ending has every property of a TV finale, except for the fact that it doesn’t actually end there. The other way that Horace and Pete ends finds Horace killed by Pete, and Pete completely mad. It fades to black over the strains of the now familiar (but suddenly more bitter than sweet) theme song, also by Paul Simon. In this version of the ending, America doesn’t survive — not in any form worth respecting, anyway. Sylvia abandons Horace and Pete’s to be forgotten, and rebuilds her life around something entirely different. She wipes it all out, just like Kurt the nihilist barfly always said should happen to the whole country. I’m not sure there’s any internally consistent metaphor in either of these endings — for all of its speechifying, Horace and Pete isn’t message fiction. It’s subtler than that. But I think that the fact that there are two endings present (and I do think that it’s meant to be read as a double-ending — consider that C.K. has never signposted where reality stops and fantasy begins in this show) basically sums up C.K.’s centrism and his belief that it’s never so simple as the ideologues say it is. Lots of political artists working in pop fields have tried to champion the centre. I’m never convinced. I’m still not. But Horace and Pete is the first interesting piece of explicitly centrist political art that I’ve seen. It succeeds where the Coen Brothers have often failed, and where South Park has actually made me angry. It’s the best TV of the year. I know it’s only April, but I don’t see anything unseating it. Its many imperfections only enrich it. Pick of the week.

Last Week Tonight: April 3, 2016 — Sometimes I play dumb iPhone games while I watch things, and then I don’t have much to say about them. Sorry.

Better Call Saul: “Fifi” — I love that there are no simple relationships in this show. Kim and Chuck, for instance. They’ve always been friendly, and we’ve even seen Chuck be totally supportive of Kim. But she’s not important enough to him that he won’t throw her under the bus to get at Jimmy. In other plotlines, it remains very interesting to see Jimmy’s story continue in low-rent Mad Men mode while Mike’s slowly turns into Breaking Bad. Saul Goodman, dodgy criminal defender, still seems a long way off. But Mike the Cleaner is fast approaching.

Archer: Season 7, episodes 1 & 2 — Archer remains Archer. I think unless this season really breaks new ground midway through, it’ll be my last. Archer is good comfort food: the rhythms of it are that predictable by this point. But it used to make me laugh like a maniac and it doesn’t anymore.

Doctor Who: “Planet of Giants” — A while back, before I was even writing these reviews, I decided to start watching classic Doctor Who from the beginning. Lest you think me completely insane, I’m not doing this because I enjoy badly-written, poorly-paced, obviously low-budget sci-fi television from the 60s. Clearly, it’s been a slow process, since I haven’t watched a single First Doctor serial since Omnireviewer began. The reason I’m doing this, really, is because I’m reading an excellent book by Phil Sandifer on early Doctor Who as a British cultural artifact, which demands a certain amount of familiarity with the show itself. (More on that below.) Yes, I’m watching television to prepare for the higher pleasure of reading scholarly essays about it. I am completely well-adjusted. Anyway, “Planet of Giants” is probably my favourite story up to this point in the series’ run. It’s still pretty bad in a lot of ways. The characters are all meant to be smart but they’re all constantly acting dumb for plot reasons. When the TARDIS lands, it’s immediately obvious to the audience that they’ve all shrunk, but the characters take half an episode to figure out what’s going on. There’s a lot of that. On the other hand, the sets are delightful. Seeing Susan and the Doctor stranded in a sink is hilarious. And the fact that the normal-sized people have their own plotline that has a direct impact on the TARDIS crew’s plotline without the two groups ever meeting is legitimately clever. Don’t misunderstand me: mid-60s Doctor Who is bad TV by modern standards. But it is profoundly interesting, and you can totally see how it would soon grow into a show with lasting value. (The Second Doctor is my personal favourite from the classic series.)

Literature, etc.

Philip Sandifer: TARDIS Eruditorum, Volume One — This is the first collected edition of essays from Sandifer’s incredible TARDIS Eruditorum blog. This volume covers the William Hartnell years of the show. It is idiosyncratic and literary enough to be far more engaging than your standard scholarly article, but it’s also far more thoughtful than what you’ll find on most TV recapping/review sites. I’ll be honest, it’s basically my benchmark for great cultural criticism (along with Chris O’Leary’s Pushing Ahead of the Dame). The book version is substantially expanded, and I’d recommend it specifically to anybody who’s trying to get through the full classic series. At the very least, it will ensure that after the show’s frequent shitty instalments, you will at least be prepared to read something interesting about it. This week, I read the essay on “Planet of Giants,” and the subsequent two essays on relevant book tie-ins that I will never read. Part of the appeal of TARDIS Eruditorum is that it can give you a sense of the vastness of Doctor Who’s extended universe without you actually having to put yourself through any of it. (Though I must say, Sandifer makes a compelling case for The Time Travellers as a solid science fiction novel…)

David Day: Alice’s Adventures in Wonderland Decoded — Day’s book is exactly what I wanted it to be: a volume of fascinating and not entirely convincing conspiracy theories about hidden meanings in classic children’s literature. First off, there are hidden meanings in Alice; that much is clear upon even the most cursory reading. But some of Day’s most compelling interpretational moments hinge on incredibly thin textual evidence — thus my remark about conspiracy theories. Here’s my personal favourite. Near the beginning of the book, Day gives an actually totally convincing analysis of the specific way in which Alice forgets her multiplication tables at the beginning of the book — she’s just ceased to express them in base 10. This checks out, and it’s amazing. She gradually establishes a pattern which continues as she expresses values in increasing bases, but when she reaches base 42 (in uncanny anticipation of Douglas Adams), the pattern collapses. Day then falls over himself to find examples of the number 42 throughout the text. (The playing-card gardeners Alice meets have a total value of 14, and there are three of them. 14 x 3 = 42. A stretch, certainly.) But, when the end of the book comes around and the Knave of Hearts is on trial for stealing the Queen’s tarts, the King invokes Rule Forty-Two: “the oldest rule in the book.” Day suggests that the book in question is not the King’s book of law — because surely the oldest rule in that book would be number one. Alice even says as much. The book in question is Alice itself, with this being a callback to the logical collapse that resulted from Alice’s attempt at multiplication tables in base 42 at the beginning of her adventure. And, upon invocation of this rule, Alice’s dream collapses upon itself — literally like a house of cards — and she wakes up. I love this. This makes Alice a better book, regardless of whether it’s intentional. And maybe it is. Not all of Day’s notes are this interesting; a lot of it relies on paralleling Wonderland characters with Oxford higher-ups of Carroll’s time. One even suspects that Day really wanted to write a book solely about Wonderland and Oxford, but was coerced into including other elements for the sake of general interest. Perhaps that isn’t fair. Also, Day is quite eager to dismiss the popular accusation that Carroll was a pedophile, though he does offer a compelling (or perhaps just comforting) argument that he would likely not have ever acted on this tendency. Still, I’d totally recommend Day’s book to anybody who wants to re-read Alice’s Adventures in Wonderland with some significant added value. And Alice is worth re-reading, regardless. This time through I noticed something that evaded me the two or three times I read it as a child: not a single one of Wonderland’s characters are “generic eccentric” in the way they tend to be portrayed in adaptations. Every one of them has their own peculiar way of thinking and speaking. The Hatter is not the Caterpillar is not the Mock Turtle. And Alice herself is a marvellous protagonist: we spend a great deal of time, particularly early in the book, inside her head as she attempts to find reason in Wonderland’s madness. And we become accustomed to her way of thinking, which is unique in itself. This was great.

Music

Killer Mike: R.A.P. Music — In retrospect, this is basically a Run the Jewels album where El-P doesn’t rap (much). The element that I missed most from the more familiar Run the Jewels records when I listened to Fantastic Damage last week was the preponderance of synth leads and basses, which are here in spades. The opening of “Don’t Die” is basically what I love most about El-P. And as much as I love him as a rapper, I found a full album of him a bit much to take. Mike, on the other hand, I could listen to for pretty much any amount of time. I love when he gets conspiratorial. “Reagan” is a hell of a thing. I think I like this as much as the first Run the Jewels album.

John Congleton and the Nighty Nite: Until the Horror Goes — This lived up to all my hopes and nightmares. The lead single, “Until It Goes,” was an immediate favourite a couple of weeks ago — one of those songs I can listen to a dozen times a day and still want more. But, having listened to the album a few times now, I think it’s possible that every other song on the album is as good or better than that one. Congleton writes huge, hooky anthems that wouldn’t be out of place on an Arcade Fire album. But instead of filling those anthems up with the usual lyrical platitudes, he gives us a guided tour of a mind that’s been considering some of modern life’s darker questions and not coming up with any reassuring answers. And he clothes his nihilistic mock anthems in nightmarish sonic garb — moaning, wheezing synths; heavy guitars; incessant drum beats and dissonant, automatic vocal harmonies. The final effect is more Brian Eno than Win Butler. High praise, I know. It’s Here Come the Warm Jets filtered through Videodrome. This anxiety-ridden, jumpy, loud, electronic-y rock and roll is exactly the catharsis I want in 2016. A masterpiece. My favourite album of the year so far, narrowly edging out Bowie. Pick of the week.

Darq E Freaker: ADHD — Purchased on the strength of “Venom,” which floored me in NPR’s Austin 100. I love “Venom” much more than the rest of this EP, for reasons I can’t entirely quantify. Alas, this is far too “dance music” for me. Ah, well. Gotta take risks.

Roxy Music: Roxy Music — Reading David Sheppard’s Eno biography really put a fine point on the extent to which Roxy Music shared a cultural moment with King Crimson. Listening to this now, it almost seems like an alternate version of In the Court of the Crimson King where Robert Fripp and Peter Sinfield were more conventionally “cool.” I suppose their analogues in terms of influence would be Bryan Ferry and Brian Eno. So, I guess that’s actually true. When I hear the dinner party nat sound that starts the album I always picture Ferry — working class, posing — dressed in a white suit just a tad too dazzling, and drinking champagne, trying to fit in. “Oh, by the way, I’ve brought my cross-dressing synthesizer friend.” In any case, it’s gradually dawned on me that this is a really good album — at least as good as For Your Pleasure. It’s really interesting to hear music made by two geniuses who don’t really know anything about music or their instruments, but anchored by a virtuoso guitarist of at least David Gilmour calibre. Phil Manzanera roars out of the gate on this. He must be one of the most underrated musicians in rock. One or the other of this and For Your Pleasure would likely make my top 10 of the 70s.

Henryk Górecki/David Zinman, Dawn Upshaw & the London Sinfonietta: Symphony No. 3 “Symphony of Sorrowful Songs” — I think I gave this one listen in my undergrad and decided it was overrated. But now, with the impending release of the adaptation listed below, I figured I’d give it another shot. I’m still lukewarm on much of it. I can understand why it’s so beloved, but the best bits are overexposed in movies, etc., and a lot of the less familiar moments are also less memorable. Not a favourite, but good music.

Colin Stetson: Sorrow — I feel like I need to take this review in steps. (1) Adapting, arranging and remaking classical pieces is a good idea — and indeed, necessary for the tradition’s continued vitality. The thing that the classical music community has the most wrong is their reverence for the composer’s intentions above all else. There’s even a famous conducting textbook called The Composer’s Advocate, as if to suggest that a person who is actually present in the room when the music is made could somehow be less important than the person who wrote the road map. That is bullshit beyond measure. Literally every other “high art” form has moved past that. Shakespeare’s plays are most frequently performed in modern fashions, reflecting the director’s taste rather than the period of their composition. In literary criticism, Barthes proclaimed the death of the author 50 years ago. And yet, classical music circles are still crowded with ass-backward pedants who insist that the composers of the great symphonies must have the final say on their works. Even the notion of listening to a single, isolated movement rather than the whole work is considered sacrilege by some, because these pieces are regarded as holy texts rather than what they are: nothing more or less than indexes of their cultures. If this mothballed philosophy is allowed to continue for long, classical music will slink off to a corner and die, and nobody will miss it. I sure as hell won’t. So, when somebody like Max Richter or Colin Stetson comes along and offers an entirely new take on a work from this world, it is to be welcomed. (2) The works that most require this treatment are the ones held in the highest esteem. There’s plenty of music out there by living composers that hasn’t yet found the audience it deserves in its original form. And there’s plenty of overlooked music from past centuries. That stuff needs its first hearing before it’s given a reevaluation. So: rewrite The Four Seasons. Because I don’t give a fuck about it anymore, and neither should you. I don’t care if it’s a masterpiece; it’s broken. We broke it with overexposure. It’s not good anymore. Max Richter’s rewrite is better than Vivaldi’s original by default, because it’s new. (3) If there is a single work from the notoriously neglected late 20th-century repertoire that needs a similar treatment, it’s the Symphony of Sorrowful Songs. This piece became something close to a fad in the early 90s. Zinman’s recording sold a million copies. It’s in every movie. So, reworking Górecki is a solid idea. God’s work, really. (4) Colin Stetson’s adaptation is not very good. The parts that work best are the bits where it’s just him on multitracked saxes and other reeds. But, when the drums and guitars come in, things go off the rails. Stetson is clearly aiming for post-rock, but he hits much closer to “new age.” The third movement even borders on cheesy gothic metal territory, at times. The original symphony didn’t necessarily traffic in restraint, but this turns everything up to 11, and entirely lacks the self-awareness to critique its own kitschiness. The shimmery production doesn’t help matters. I do like bits of the second movement, but by and large this is a pretty damp effort. (5) I want there to be more like this. There are sure to be pedants who will dislike this on principle. I agree with them that it’s bad. But I also think they are idiots. They are boring zombies without insight of their own, mindlessly puking up rote recitations of concert hall orthodoxy. They are eating the necrotic bits off of a body that isn’t even quite dead yet. They are the enemy. It probably seems like I’m setting up a strawman to beat down. I am not. I have talked to these people. They are vile. (6) Colin Stetson, I applaud you. Do more of this. May it appeal to me more next time.

Tim Hecker binge: Virgins, Harmony in Ultraviolet, Mirages and Radio Amor — Tim Hecker’s got a new album out. I haven’t gotten around to it yet, but in anticipation, I figured I’d check out some of the catalogue. Virgins blew me away when it first came out, but it’s taken until now to listen through the other three albums I’ve had sitting on my shelf for some time. None are as good as Virgins, because they’re just not as confrontational. Virgins has some of the characteristics of Eno’s ambient music, but it definitely isn’t that: it’s a huge, commanding presence that dares you to ignore one second of it. That’s in spite of the fact that it has very little in the way of melody, and even less in the way of a beat. It’s also better than the other albums because it is a more seamless hybrid of live and electronic sounds. Virgins sounds present partially because it is largely composed of sounds that happened in a room at some point, rather than imaginary sounds that only ever existed on a computer. Nothing wrong with that, of course. But an album like Harmony in Ultraviolet, while good, pales in comparison to Virgins because the latter is so much more fascinatingly imperfect. Harmony, Radio Amor and Mirages are all generally more “ambient” than Virgins is, but all of them have an abrasiveness that prevents them from ever really fading into the background. Mirages is the best of the three, maintaining a bittersweet mood throughout, with implied harmonies and textures that seem to break apart as they form. Still: it’s homogenous compared to Virgins. I’m really looking forward to hearing Love Streams, because it sounds like Hecker is continuing to explore the electroacoustic direction he went in on Virgins. More on that next week, I’m sure.

Gonzales: Solo Piano — I have a gut response to Chilly Gonzales that I’m not proud of. It goes something like: “he’s not as clever as he thinks he is.” That’s never a good way to think about an artist. An artist is as clever as they are. How clever they think they are shouldn’t enter into the equation, even when they tout it constantly. Whether or not they live up to their own pronouncements is in the eye of the beholder. And, hearing this album for the first time, it’s hard to justify that kind of antipathy. These are intentionally simple, slight little pieces for the passive entertainment of whoever’s around. The recording itself is delightfully idiosyncratic: every imperfection in the specific piano that Gonzales is playing is amped up, from the heavy key click to the weird overtones in the high end. I like this. And I’d wager just about everybody would like it at least a little bit. Give it a shot.

NPR Music: The rest of the Austin 100 — If you didn’t download this when you had the chance, at least go and stream it. You’ll discover at least a few things you’ll like.

Games

EarthBound — Having exhausted my Steam purchases from the Christmas sale, it’s nearly time for me to embark on my second (and inevitably, third) playthrough of Undertale. But first, I figured I’d check out the acclaimed, weird little game that so much of it apparently riffs on. So far it is charming, innocuous, unexpectedly self-aware, and has too much RPG combat in it. I will persist, because enough interesting people seem to love this game that I feel like there must be more to it.

Podcasts

Reply All: “A Simple Question” — P.J. Vogt’s description of the inescapability of Verizon’s Fios advertizing in New York City is one of the best writing moments on this show so far. This show also features some of the best tape from a city council meeting that I’ve ever heard. Basically, Verizon is awful and this story is fantastic.

On the Media: “We Gotta Try Harder” — Those watching American politics in a state of confusion and despair should listen to OTM. It will mitigate against the confusion. The despair, alas, is inevitable. Here, though, Gladstone takes on Ghanaian journalism as well. I wish she’d pushed a bit harder in her conversation with the undercover journalist who has influenced policy and exposed crime in that country. He’s pretty astonishing, but only one ethics question? Come on, Brooke. Give the people what they want.

All Songs Considered: “A Conversation with Explosions In The Sky” — Nah, I’m not going to listen to this album. They say they were trying to make a “love it or hate it” record that nobody will think is only okay, but everything I’ve heard from it so far has been completely middle of the road. Maybe if people are still into it at the end of the year.

Sampler: “Crimble Bramble” — I think I’ve found the appeal of Sampler: when there are guests on the show from my favourite podcasts, and they’re there to talk about their favourite podcasts, it’s going to be interesting. This helped everything fall into place about P.J. Vogt and Alex Goldman. The fact that they listen to so many comedy podcasts says a lot about why Reply All is the way it is.

Pop Culture Happy Hour: “Small Batch: The Real Housewives of Potomac” — I really like Brittany Luse. The fact that I listened to this right after an episode of Sampler is just a coincidence, but I think the podcast gods are telling me to listen to For Colored Nerds. I will not, however, be watching The Real Housewives of Potomac.

Serial: “Present for Duty” — This season of Serial has been neither the most valuable radio I’ve heard in the past months, nor among the most interesting. But this episode, which poses the question: “Did American soldiers die searching for Bowe Bergdahl?” is very good. Honestly, I think that the best presentation of this story would have been a two-part (maybe three-part) episode of This American Life. Broadly, it would have focussed on the details in the first and last episodes of the season, with a few of the asides in the intervening episodes incorporated in truncated form. Koenig and her team should have been allowed to do the same amount of investigation and reporting that went into these 11 episodes, but made to tell the story in a more focussed way. Because, the tiny details of this story just aren’t as compelling as the details of season one’s story. Military bureaucracy is not as interesting as investigating possible alibis. By and large, Serial season two is a miss. It told some interesting stories, but it weighed them down with a lot of stuff that I just don’t think is important to know about Bergdahl, and which certainly isn’t interesting. All the same, they’re apparently done a chunk of season three already. Maybe it’ll work better. I’m not not looking forward to it.

On the Media: “Is This Food Racist?” — Having also heard the first episode of The Sporkful’s “Other People’s Food” series at the time of writing this (see below), I’m glad that Brooke Gladstone invited Dan Pashman on, if only to explicitly call bullshit on chef Rick Bayless for his total ignorance of white privilege. Not just his own privilege, mind, but the very concept of it. Disquieting.

The Sporkful: “Other People’s Food” — This is a five-part series that I can’t recommend highly enough. Dan Pashman explores how what we think about people affects how we think about their food. There are things in here that you likely won’t have thought about if you’re white and dumb, like me. Like, Americans aren’t willing to pay more than 30 bucks for Chinese food, and when they do, it’s shitty American-style Chinese food. But, they’ll pay a hundred dollars for great Japanese food. That’s in episode two. In episode three, Pashman eats apple pie with Joe McNeil of the Greensboro Four, who helped spark the movement that desegregated restaurants in the south. You should check this out. This is a few commutes worth of fun, thoughtful radio. Pick of the week.

Desert Island Discs, Archive 1991-1996: “Brian Eno” — Bless the BBC for making this archive available. This is what it says it is: notable people come on and play the records they’d take to a desert island. The podcast edition keeps the talking and shortens the music for rights reasons, which might actually make it better. Eno says he’s avoided choosing any records that he had something to do with, which certainly limits things. But it’s a good insight into just how omnivorous he’s always been.

Welcome to Night Vale: “The List” and “The Monolith” — Generally, I don’t like when Night Vale does continuity, but “The List” is based around one specific continuity reference that is unpredictable enough to be really clever. Really, though, I’m not even close to caught up with this, and I’m already feeling like it’s been on autopilot for a while. I keep listening in the hopes that something new will happen, and sometimes it does — like in the two specials I listened to a few weeks back. But by and large, this is all starting to feel the same.

Desert Island Discs: “Gloria Steinem” — Something a little more contemporary, now. This was weird. The interview was good, but not as good as Terry Gross’s from months ago, and it touches on several of the same topics. And given that this is not an interview with a musician, as the archival Eno episode was, the music really doesn’t seem to fit. I dunno about this. Let’s try one more, from the archive and see how that goes.

Desert Island Discs, Archive 1991-1996: “Douglas Adams” — There’s a moment in this where the interviewer, Sue Lawley, is asking Adams about his enthusiasm for computers. He goes on for a bit, and then she basically says “But do you really think they’ll replace the human brain?” And then you remember what 1994 was like. (I do, barely.) This is fun, but I do wish that rather than doing a straight-ahead biographical interview with interspersed records, they’d really dive into what the records mean to the person, in their life and in their creative work. This show seems like a (surprisingly long-lived) missed opportunity to really dig into music as an index for culture at large. It’s still kind of fun, and I’ll probably listen to more. But basically, meh. Also, Adams references that he was working on a Hitchhiker screenplay at the time. How amazing that it didn’t come out until eleven years later, only once Adams was quite substantially deceased.

All Songs Considered: “New Mix: Weezer, The Jayhawks, Colin Stetson, More” — I’ve heard almost no Weezer in my life, and when I heard this Weezer track, even I was like “wow, that’s Weezer.” Both of these hosts like that Colin Stetson thing more than me, but I really am glad they made space for it. It’s certainly interesting, if nothing else.

On the Media: “Behind the Panama Papers” — OTM is so good that first-rate material like this doesn’t even make it into their full shows. The most interesting thing about this is Gerard Ryle’s take on why the Panama Papers weren’t front-page news in America.

Radiolab: “Cellmates” — Ah! The Radiolab of old! For the first time in ages, Robert Krulwich is the key storyteller, with Jad Abumrad just sitting back and leaning into the role of comedically sceptical buzzkill. Plus, the mix is insane and has some great music in it. And crucially, the story is about a scientific insight (okay, theory) with implications so cosmic that no other show would touch it. I’m still going with The Sporkful for my podcast pick of the week, but I’d love to hear more like this.

Surprisingly Awesome: “Circle of Fifths” — Disappointment was inevitable. For all that I’ve railed against this show’s assumption that things are mostly boring, the circle of fifths actually is boring. At least to anybody who’s gone to music school, which, granted, is a small number of people. I really don’t know why I listened to this. But: they seem to have toned down the fake boredom significantly since last I listened. That’s promising, and indicates that I may eventually come to like this show in some form.

Pop Culture Happy Hour: “Batman V Superman and Pop Culture Objects” and “Best Bad Movies and a Quiz” — Thank you Chris Klimek, for helping me decide to be one of the twelve people who doesn’t see Batman v Superman. And, per the second episode: aww, they’re all so happy to have Trey Graham back. So am I, actually. But that quiz was not very entertaining. Ehh.

All Songs Considered: “What Song Changed Your Life?” — Bob Boilen isn’t the sort of person whose book I’d necessarily read. Basically, he’s a companionable guy with really good taste — the perfect tour guide through new releases. But not a writer. Still, I’m glad to have heard this extract from Your Song Changed My Life, even if it does tread willfully along the standard lines of a late 60s musical coming-of-age. (The song that changed Boilen’s life is “A Day in the Life,” because of course it is.) I fanboyed a little when he told the story of his first time in an NPR studio, at the invitation of a young up-and-coming producer named Ira Glass.  

Omnireviewer (week of Mar. 20, 2016)

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18 reviews. I’d like to think I’m making up for the comparatively small number with extra thoughtfulness, this week. Or maybe not. It occurs to me that a lot of what I write here is complete nonsense to anybody who doesn’t have near identical cultural touchstones to me. Therefore, to those of you who actually read this: thank you for your substantial feat of empathy.

Television

Horace and Pete: Episodes 2-5 — I think we’d better start with episode three, in which two people have a conversation, and that is all. Horace and Pete was already becoming a testament to the power of good writing and good acting presented straightforwardly, but that episode took it to another level altogether. Laurie Metcalf, an actress that I’ve never seen in anything before, opens the show with a ten-minute monologue in a single close-up shot. And even when Louis C.K.’s character enters the picture, it doesn’t get much more complicated than that. It’s just two people, telling each other captivating stories that they each have personal reasons to be particularly captivated by. It’s electrifying. Metcalf’s performance is completely staggering, in the same way that Alan Alda, Edie Falco and Steve Buscemi’s performances are staggering in other episodes. C.K. himself is a less technically able actor, and it’s occasionally bizarre to see him playing opposite people who are obviously much more accomplished than him, but in general he knows what he can and cannot do. The other episodes aren’t quite as good as the third one. But then, none of them take quite such a big swing. This is a really good show, that expanded its remit from the political theatre of its premiere remarkably quickly. Pick of the week.

Last Week Tonight: March 20, 2016 — This was brilliant, don’t get me wrong. But I’m beginning to become concerned that John Oliver is obsessing over the same ludicrous shit that everybody else is. When his show premiered, I had stopped watching Jon Stewart because I was starting to get tired of Stewart’s particular preoccupations — which is to say, the preoccupations of daily television news. Then Oliver came along and explained net neutrality with dingo metaphors. I’m hoping that version of Last Week Tonight doesn’t get forgotten in favour of being merely the most authoritative source of humourous Trump debunking.

Better Call Saul: “Bali H’ai” — One of my two favourite episodes of Better Call Saul. (The other is “Marco.”) The moment at the beginning where Kim stays home a little later specifically to hear Jimmy sing to her over voicemail is one of the sweetest moments ever to appear on this show. So much is communicated in that scene, about both characters. Rhea Seehorn is becoming one of my favourite supporting players on television right now. It’s really something to watch the longing play out on her face as a partner from a rival firm offers her a job she knows she can’t take. Plus, we have another intrusion of Breaking Bad into the Mike’s Better Call Saul plot. It comes in a gloriously creepy moment that also features some of Jonathan Banks’s best work in his role so far. Even Patrick Fabian impresses this week, with almost no screen time. He’s doing a great job of making Howard not be a cruel, cold bastard, even when he’s acting punitively. If the third episode of Horace and Pete were less brilliant, this would be the pick of the week.

Music

Madvillain: Madvillainy — You know when you love an album so much you try not to listen to it too much so it stays fresh? That’s how this album is with me. It’s absolutely one of my favourite rap albums, but I don’t actually know it that well because I want it to stay surprising. When I listen to this, I get the sense that MadLib and I are essentially the same person, except he’s a talented hip hop producer and I’m a hack radio writer. But this is basically what the inside of my head sounds like, complete with bits of Frank Zappa and Gentle Giant flying around. MF Doom, on the other hand, is very much unlike the inside of my head, because there is literally no other human who thinks like him.

The Beatles: Sgt. Pepper’s Lonely Hearts Club Band — There is no other album about which there is so little left to be said.

The Beatles: Revolver — Except maybe this one. All the same, I think I can say some things. Revolver seems to be the internet’s consensus favourite Beatles album. I have no metric to measure this, but I get the sense that Gen Xers picked this as their Beatles album in opposition to the boomers’ reverence for Sgt. Pepper. And while neither of those are my favourite (I’d pick the White Album, Abbey Road, Rubber Soul, and Magical Mystery Tour over both), I’m going to have to decisively side with the boomers on this one. Revolver has some of the best songs in the Beatles canon (“Eleanor Rigby,” “She Said She Said,” “And Your Bird Can Sing,” “For No One” and “Tomorrow Never Knows”). But for an album that’s consistently touted as maybe the single greatest utterance of a generation, it has a lot of relative duds. “Taxman” is an early iteration of mid-70s fatass popstar syndrome — wherein most of England’s biggest stars were living in tax exile making bland, safe music. “Love You To” is a culturally appropriative misguided experiment that lacks the lyrical and melodic brilliance of Pepper’s similar (but equally problematic) “Within You Without You.” “Here, There And Everywhere” marks the first appearance of the saccharine Paul McCartney that the world would come to resent, post-Beatles. “Yellow Submarine” is fine. Everybody stop hating on “Yellow Submarine.” “Good Day Sunshine” is musical plain yogurt. It’s all subjective, of course. But during four of Revolver’s 14 tracks, I always find myself wondering who crowned this one king.

Pink Floyd: Wish You Were Here — More boomer music! This used to be my favourite album from Pink Floyd’s most revered period (Dark Side through The Wall). These days I tend to lean towards Animals. But Wish has a certain appeal for being the most loosely constructed of the post-Dark Side albums. “Shine On You Crazy Diamond” is the most obvious illustration of this — that opening goes on for at least one chorus longer than it probably needs to. But economy isn’t the concern here, nor should it have been. It’s the slow burn that makes the song. And the whole album benefits from the feeling that the band has time to kill. It would have been a mistake for Pink Floyd to follow up Dark Side with another ruthlessly focussed album. Wish You Were Here is the final statement from the free, jammy psychedelic band that Pink Floyd was before they hit it big. From here on out, the albums meander less and less. And that is both a gain and a loss.

NPR Music: the Austin 100 — This is a six-hour, 100-song playlist of music from artists playing at this year’s SXSW, compiled by Stephen Thompson, who will not shut up about it on the two podcasts he’s on that I listen to. Having very much enjoyed All Songs’ SXSW coverage, I figured I may as well check out the giant heap of music that they’ve made available for download. And you know what: good decision. There’s a huge range here, much of which falls under the valuable category of “stuff I don’t really want to explore further, but am glad I heard once.” Just when you think it’s going to be a bunch more indie rock and songwritery stuff, alphabetical order gives you back-to-back Chynna Rogers (kickass rap) and CONAN (metal, obvs). You can download all 100 songs for free until the end of March and you should, because why wouldn’t you?

Literature, etc.

David Sheppard: On Some Faraway Beach — I’ve had David Sheppard’s Brian Eno biography on my phone for ages, having only gotten through a couple of chapters. Early this week, the third chapter became my commute entertainment of choice. It’s fantastic, and as much a look into the London experimental music scene — including notables like Cornelius Cardew, Gavin Bryars and Michael Nyman — as it is into Eno’s formative years. It’s fun to see how the approach that made Eno one of my creative heroes — Sheppard summarizes it as “create parameters, set it off, see what happens” — basically originated with John Cage, and was circulating around the experimental circles that Eno stumbled into. The line from Cage to Eno is an obvious one to draw, but what’s cool is seeing how everybody else who caught on to it (including Americans like La Monte Young and Steve Reich) was using it to make a sort of “art music,” and Eno was the only one to realize he could use it to produce pop albums.

Games

SOMA — Finished, at last. This did what I wanted it to, namely: to offer me a detailed world to wander around in as part of a linear story, and to occasionally scare the willickers out of me. SOMA really wants to be a thoughtful game, and sometimes it is. But the existential questions that are its thematic bread and butter are too hypothetical to be especially preoccupying. “Are digital copies of ourselves still ourselves?” Ehh. It’s worth noting that this is close to the same question that animated the first storylines of Swamp Thing, and that comic really started getting good when Alan Moore stopped worrying about it. (It’s also worth noting that there’s a famous philosophical thought experiment colloquially known as “Swampman” that offers almost the same hypothetical as Swamp Thing, but which was apparently conceived some time after Swamp Thing began. In any case, both of these iterations of this idea are more sophisticated that their expression in SOMA.) These days, I’m disinclined to grapple with such abstract notions. Give me Bioshock: Infinite. That game’s hypotheticals are beginning to look like the daily news. Altogether, I’d say SOMA was very much a video game. It was fun while it lasted, but it won’t be lingering with me for long, and I certainly won’t ever play it again.

The Dream Machine: Episodes 1-3 — This is more my speed. First off, it’s amazing that somebody made a stop-motion point-and-click game with clay models. Aesthetically, The Dream Machine is the most distinctive game I’ve played since… I dunno, FEZ? It’s so beautifully presented that the apartment building where most of the game’s real-life segments take place is just as vibrant as its fanciful dream sequences. The puzzles, such as they are, are intuitive and don’t disrupt the flow of the story. The writing is clear and refreshingly non-stylized, and all of the characters have distinct voices — even in the third episode, where they literally all look the same. It’s not quite Kentucky Route Zero, but what is?

Podcasts

All Songs Considered: More SXSW coverage — The tail end of All Songs’ SXSW late night dispatches found Bob Boilen invigorated by an environment that most people, including apparently everybody else involved in NPR Music, would find exhausting. But the team’s tenacity paid off in this week’s proper episode of All Songs, which features some really fantastic discoveries that I’ll probably check out more from. I am so excited for that John Congleton album. Pick of the week.

On the Media: “Party People” — I can’t say I have any better an understanding of who the hell these people who support Trump are after listening to this, but it was certainly interesting to hear more about how ineffective the campaign finance system is — to the point where it’s almost hard to think of it as evil anymore. Just inept.

In Our Time: “Bedlam” — I continue to be equally fascinated by this show’s existence as its content. It’s refreshing — almost shocking, really — to hear Melvyn Bragg respond to a guest’s meandering answer to a question with “that was an excellent survey, but can you just give me the answer?” He’s totally artless and I kind of love him for it. The actual content of this episode is horrifying and fascinating.

Pop Culture Happy Hour: “Small Batch: Glen Weldon’s ‘The Caped Crusade’” — Fun! I will say, I find that as a culture critic, Weldon can be a bit on the orthodox side for my Phil Sandifer-inclined tastes. He has a tendency to recite the standard narratives of cultural history, rather than offering the sorts of counterintuitive arguments I tend to enjoy. But it sounds like in this book he’s really gone out of his way to put the most toxic parts of nerd culture under a microscope. I fully intend to read Weldon’s Superman book, having enjoyed the Amazon preview some time ago. This new Batman one may have to wait, but I’ll probably get there because Weldon is good company, in podcast and printed form.

On The Media: “Gawker, Hulk Hogan, and the First Amendment” — Bob Garfield is the best. This is a case study in why he and Brooke Gladstone are a great team. This is the sort of straightforward, umbrance-driven story that he would be way more into than her. Meanwhile, she’s probably off thinking about how Marshall McLuhan would have critiqued Twitter. It’s the perfect arrangement.

Reply All: “Good Job, Alex” — You know what’s something you can’t do on public radio? Be the main character in your own story. Thank god there are podcasts, because the Vogt/Goldman double act has never been funnier than in this, where Goldman tries to solve a problem and Vogt makes fun of him mercilessly.

Pop Culture Happy Hour: “SXSW Wrap and Songs That Changed Our Lives” — This arrived just in time for me to reach peak NPR SXSW ‘16 coverage. After hearing Bob Boilen and co. geek out about the music at SXSW, it was nice that this offered Stephen Thompson, Katie Presley and Audie Cornish the opportunity to talk about it more broadly, as a phenomenon. And honestly, after hearing about the masses of sweaty people and the pace of it all, I think I might not bother ever going. I’ll just experience it vicariously through NPR.

Omnireviewer (week of Mar. 13, 2016)

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19 reviews. Back in normal person territory.

Television

Cucumber/Banana/Tofu: episodes 6-8 of all three, plus “The Screwdriver” — One thing I didn’t bring up in my pick of the week entry for this last time is that while Cucumber is a showcase for Russell T Davies: idiosyncratic stylist, Banana is a showcase for a number of different writers as well. Sue Perkins and especially Charlie Covell do magnificent work as guest writers on this show. So, even when Davies stops writing Cucumber, I really hope that he keeps doing Banana. I touched on this last week, but it bears expanding on: every time there’s a movie about LGBTQ people that manages to capture the attention of a mainstream audience (i.e. one that includes ignorant straight dudes such as myself) it is almost without fail a joyless slog. So, an LGBTQ anthology show with a sense of fun, that tells a different story every week and highlights the work of LGBTQ writers, is just something that needs to exist. I don’t think there’s anybody better to oversee it that Russell T Davies, but Banana could easily have a continued life once he moves on from it. I really love these shows, and I think it’s a dreadful shame that they’ve been so overlooked. I can’t urge you enough to watch them. (Although, since I am ostensibly reviewing things on this blog, I will say that I felt that the much-hyped sixth episode of Cucumber was the weakest of the lot, and the one time when the show crossed the line into self-indulgence and soapy plot contrivance. It’s a minor quibble. Nothing’s perfect.)

Last Week Tonight: March 13, 2016 — Nothing much to say except “yes.” And “ha!” And “yes.” And if you stay until the end of the credits, you get to see Rich Sommer try to eat a computer.

Better Call Saul “Rebecca” — Easily the season’s best episode yet. Jimmy and Mike’s plots are more amusing than substantial, but sidelining those characters gives us a chance to get to know both Chuck and Kim a bit better. Both are wonderful characters played by brilliant actors. What’s really interesting is seeing them explicitly linked in the way that they treat Jimmy. Given that Chuck has so much more experience in this regard and that they’re apparently comparing notes now, I’m fairly certain that Chuck will end up being a key factor in Jimmy and Kim’s inevitable breakup. Come to think of it, that could be an intentional play on Chuck’s part. The opening seems to suggest that Jimmy somehow drove a wedge between Chuck and his former wife. Revenge?

Horace and Pete: Episode 1 — Oh, I’m going to like this. Louis C.K. is explicitly going in for a critique of American values, and that is a ride I want to go on. But he’s not leaping feet-first into Kevin Smith polemical territory — there’s a division of labour here. Supporting characters are allowed to talk politics explicitly, but the main contest of old values vs. new values takes place in the A plot, with no explicit references to parties or primaries or Donald Drumpf. The first episode is structured around mirroring the supporting characters’ political arguments with the main characters’ family struggle. There aren’t any neat A to B comparisons to be made, because Louis C.K. has more subtlety than that. But this is essentially political theatre, and C.K. is setting himself up to be for the centre-left what the Coen brothers are for the centre-right. And I guess he can just work with whoever he wants now? Seriously, Steve Buscemi, Alan Alda, Edie Falco, Jessica Lange and Rebecca Hall in the same show? With a theme song by Paul Simon? On the internet? It’s possibly that C.K.’s imperial phase has only just started. Very excited to catch up on this and see where this goes.

Movies

Whiskey Tango Foxtrot — What the hell was this? Okay, look. Normally, I’m all about that thing where you don’t worry about whether you’re making a comedy or a drama. None of the best TV seems to care, after all. (See three out of four shows listed above.) But I feel like when you’re telling a true story about a recent war, you need to make a decision. There were some good lines in this, and some good performances. Tina Fey is great in this. But holy hell does the script go every which way. Really not very good.

Music

Patricia Kopatchinskaja, Teodor Currentzis, MusicAeterna, et al.: Tchaikovsky Violin Concerto & Stravinsky Les Noces — I don’t give a shit about the Tchaikovsky Violin Concerto. Really, I can’t even tell you how little I’d normally care to hear another recording of this mouldy, overdone repertory warhorse. And it frustrates me to no end that people keep recording it when there are actual living composers writing music (and needing money). And it frustrates me to no end that I basically can’t tell the difference between any of those recordings. So, if you’re going to record this piece, I will almost certainly not care. This recording made me care. It is a totally insane interpretation, with a seat-of-your-pants spontaneity to it such that Currentzis’ orchestra sometimes struggles charmingly to keep up with Kopatchinskaja. I’m sure that there will be many classical fans and critics who will meet it with tut-tuts of disapproval. But to me, this is the standard to which we should hold classical musicians. The question shouldn’t be “how well do these musicians offer us the standard reading of this piece,” but “how do these musicians make this piece new?” Classical musicians should be expected to go back to the score and interpret it afresh every time — like Glenn Gould did, and the late Christopher Hogwood. Every other approach is lazy. This came across my desk a while ago. I wouldn’t have taken it out of the shrink wrap if not for Stravinsky’s Les Noces. But, as fantastic as Currentzis’ Stravinsky is, it’s the Tchaikovsky that sells this. That is something I thought I’d never say. Maybe this whole classical music thing has a future after all. Pick of the week.

Run the Jewels: Run the Jewels — Their second album has been one of my favourites for ages, but I was yet to hear the first. This needed to be rectified. I like this a lot, but there’s nothing on this that hit me quite like “Close Your Eyes,” “Oh My Darling Don’t Cry” or “Crown.” But El-P is a hell of a producer, and both he and Killer Mike take some fantastic verses.

Literature, etc.

A week of reading excellent writing on the internet. Also David Day’s Alice annotations, but you know about that already.

Hasit Shah: “Poor Lonely Computer: Prince’s Misunderstood Relationship With The Internet” — A glorious longread from NPR Music, this doubles as a rare inside look into Prince’s exclusive Paisley Park concerts and an exploration of digital copyright law. It’s totally ingenious, and Shah knows exactly who to talk to to make the points he wants to make.

Nitsuh Abebe et al.: “25 Songs That Tell Us Where Music is Going” — This New York Times Magazine feature is a completely over-the-top surfeit of awesome. Instead of limiting their impressive stable of staff and guest writers to the 200ish word blurbs that are standard in these kinds of lists, the NYT lets fly with a collection of op-ed style pieces and full-on reported features. (I realize now that the entire issue of the print edition is devoted to this one feature. Nice.) Of particular note are the long pieces about hip-hop group The Internet and session drummer Matt Chamberlain. And Marlon James’ long analysis of Kendrick’s “The Blacker the Berry” takes the final prize. Plus, my perpetual favourite Caroline Shaw made the list! This is no mere, vapid listicle. This is a proper thing.

Kieron Gillen: “The New Games Journalism” — If these Omnireviewer posts have taught me anything about myself, it’s that I’ll never be a “gamer.” I just don’t have the damn time. But I do love games as a medium, and I’m fascinated (and frequently disgusted and appalled) by gaming culture. And if there’s anybody associated with that culture who I trust to be interesting about it, it’s Kieron Gillen. This is an essay he wrote three years before launching Rock, Paper, Shotgun, which is essentially a manifesto arguing that a writer’s personal experience with a game is more important in writing than the mechanics of the game itself. That makes it basically transferrable to every discipline, and I’d encourage anybody who writes about the arts to check this out. In terms of its specificity to games journalism, though, Gillen manages to coin the wonderful phrase “travel journalism to imaginary places.” (Also, Gillen uses the line “just saying it could even make it happen” from Kate Bush’s “Cloudbusting” to justify his enterprise, as if his essay is a sort of incantation. That seems to me like a precursor to the idea that music is magic — the premise of Gillen’s Phonogram.)

Games

SOMA — It’s been ages since I played this, because it got too scary. I can handle jumpscares and things chasing me down dark corridors. But when unknown consciousnesses start trying to talk to me through monitors, the willies come on something fierce. I think I’m close to the end of the game now, but I wanted to check in here a bit in advance to gripe about a truly godawful bug that forced me to do one of the game’s scariest chapters twice. There’s a moment where you need to use an item to unlock a door and it’s supposed to be automatic, but it just… doesn’t happen. After some Googling, I found that others had this same problem, and when they reloaded their save files from the previous chapter, it works. But that entails having to traverse the darkness of the ocean floor, teeming with anglerfish, for a second time. And my nerves have their limits.

Podcasts

I’m suspending Radiotopia reviews in case I decide to enter Podquest.

You Must Remember This: “Charles Manson’s Hollywood” parts 5-12 — This series tells an enormous story with such finesse. I haven’t got much to add to what I said last week, except that it continues as brilliantly as it starts. Longworth makes late 60s Hollywood seem extremely rotten. She emphasizes that Manson was part of a larger counterculture that was becoming poisonous by 1969, but that studios were still falling over themselves to monetize. And her detour into the post-Manson life of Roman Polanski is just as disturbing as the murder narrative. Seriously, what a wretched creep. I have quibbles, as you do. I wish Longworth wouldn’t do silly voices when she reads quotes. She should either get an actor, like she often does, or read the quotes straight. I wish she wouldn’t use the phrase “and/or” so much — and in her tagline, no less. But altogether, this is a unique and wonderful use of the podcast medium to tell really dense, resonant stories. I can’t recommend it enough. Pick of the week.

Radiolab: “Debatable” — Okay, now we’re back in the territory that I like Radiolab to occupy. The question here is basically “How do you engage in debate when the very structure of debate is designed to exclude you?” The answer that this episode’s protagonist Ryan Wash comes up with is “Always debate the structure of debate.” I loved this. As a sidebar, if you want to get really mad, go read the comments on this and “The Cathedral” on the Radiolab site. I agree with some of them that Radiolab isn’t what it used to be, but those aren’t the episodes to gripe about. How typical of the internet that the episodes that prompt so much bullshit are one that engages with systemic racism and another that features an indie game. If there are two things that internet fuckwits hate, it’s challenging racism and indie games.  

On the Media: “Print is Back, Back Again” — This episode gives us the actual, not that pessimistic state of the publishing industry, an inside look at Amazon’s super weird bricks-and-mortar location, and the knowledge that used books are sometimes sold by the foot as decorative objects in particular colours. Really good.

Imaginary Worlds: “Why They Fight” — I probably will not watch Batman v. Superman. But it’s cool to hear Molinsky parse the relationship between those two characters in terms of D&D character alignments. God, but I’m a nerd.

All Songs Considered: SXSW coverage — This encompasses All Songs’ hour-long preview of little-known artists they’re excited to see in Austin and their nightly debriefs after full days of, presumably, sensory overload. It’s fun to hear Bob Boilen and co. in this environment, which is presumably where they would all like to spend their entire lives. They do a great job of capturing the vibe of the place. One of these years, I’ll go.

Pop Culture Happy Hour: “Hamilton” — At last. I’ve been looking forward to the PCHH panel seeing Hamilton about as much as they were probably looking forward to seeing Hamilton. If you’re in any way remotely skeptical about this universally and justly beloved high-water mark of human creativity this ought to allay any doubts. As Lin-Manuel Miranda himself put it on Twitter, these guys really went in. Linda Holmes reveals how Hamilton calls back to every great Broadway musical ever (though she skips the Jesus Christ Superstar homage, maybe intentionally), and Gene Demby does the same with its references to much of the history of rap. I am so glad that all four of them loved it so much, because this is one of those cases where I’m totally okay with the hive mind. As far as I’m concerned, anybody who doesn’t like Hamilton stands revealed as a charlatan. This episode is also the perfect example of why I like PCHH so much better than Slate’s Culture Gabfest. This is both more analytically incisive than their episode on Hamilton, and also much funnier.

Reply All: “Earth Pony” — This is both named after and most notable for its magisterial “Yes Yes No” segment. The main segment is a fairly unremarkable but basically fun bit about a fictional, but nonetheless successful political prognosticator. But it’s that “Yes Yes No” featuring Jason Mantzoukas in the role of Alex Blumberg that really sells this. It might be the best that segment has ever been.

Serial: “Thorny Politics” — Oh no, now Trump’s involved. Two things I’ve loved in this season have been the actual narrative of Bergdahl’s life, capture and imprisonment; and the political ramifications of his release. This, therefore, is one of the best episodes of the season, focussing as it does on the latter of the two.

Omnireviewer (week of Feb. 27, 2016)

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I’ve been writing about Pink Floyd, and thus listening to and reading about Pink Floyd a hell of a lot. Hopefully the fruits of these labours will be visible soon. But you can’t rush these things. Speaking of Pink Floyd and Rush, let’s begin with Genesis, and continue with 29 other things, for a total of 30! That’s the most in ages. Well done, Parsons. Thank you, Parsons.  

Music

Genesis: A Trick of the Tail — You know when a song you haven’t thought about for years comes to mind unbidden and you have to listen to it? That happened to me with “Squonk,” just now. I never expected that to happen with “Squonk.” But it did prompt me to listen through this entire album, which I haven’t heard for ages. This is like homemade macaroni and cheese straight out of the oven to me. People consider it a miracle that Genesis managed to make an album this good immediately after Peter Gabriel’s departure. But those people might not have a firm grasp on the power dynamic in Genesis: it was never Peter Gabriel’s band. Tony Banks and Michael Rutherford were at least as influential. Without Gabriel, they did lose a certain amount of the darkness that made The Lamb Lies Down on Broadway so delicious. But that’s not objectively a bad thing. I think it’s telling that fans of Genesis’ prog output tend to love this album and dislike, say, Duke. Because both of those albums are basically pop albums. The difference is that Trick is a pop album wearing a prog aesthetic: Hans Christian Andersonesque fables in the lyrics and semi-acoustic pastoralism in the music. Whereas Duke is a modern-sounding pop album mostly made up of love songs. But they’re both full of pop hooks. Really, Genesis was always more of a pop band than their prog contemporaries, even when their frontman was a guy who wore flower costumes. Maybe that’s why their music has such comfort food potential.

Pink Floyd: assorted early singles and unreleased tracks — I listened to all of the most notable tracks from the Barrett era that aren’t on Saucerful or the Piper special edition. Namely: “It Would Be So Nice,” “Julia Dream,” “Point Me At The Sky,” “Careful With That Axe Eugene” (the less-familiar studio version), “Vegetable Man,” “Scream Thy Last Scream,” “One in a Million,” “Reaction in G” and “Sunshine.” Together, they make a nice, if disjointed, early Floyd mini-album. Seldom has there been a band whose castoffs and curios are quite so interesting. I think it’s undeniable that Pink Floyd got better towards the mid-70s, but they were never again so radical as they were when Barrett was around. (An aside: the “Point Me At The Sky” single is apparently the rarest of all Pink Floyd releases. It is also the first track with a Gilmour/Waters songwriting credit. It also features the line “If you survive ‘til 2005…” What I’m saying here is that they really should have played it at their 2005 reunion show. That’s a huge missed opportunity. Sure, nobody would have known it. But, considering that it was the first time in decades that Gilmour and Waters shared a stage, it would have had such sentimental value.)

Pink Floyd: The Dark Side of the Moon — It turned 43 on Tuesday, so I figured may as well. I always feel like a hipster when I say stuff like this, but I really don’t think that Dark Side is one of the best Pink Floyd albums. Wish You Were Here and Animals are both more up my street where the mid-70s stuff is concerned, and The Wall is stronger thematically, if not musically. But I sure do see the appeal: it’s got a directness to it that other Pink Floyd albums don’t have. I played a couple of songs from this album with the band I was in back in high school, Sundog One. Every time I listen to it, there’s a parallel version running in my head of how it would sound if the band were still together, playing these songs. I imagine that sounds terribly sentimental, and I suppose it is, but it’s also just a fun exercise. I like to imagine that Sundog would have gotten more playful with time. We’d do “Us and Them” as a twangy campfire song with a harmonica solo in lieu of the saxophone, and “Any Colour You Like” would be flat-out disco. *Sigh.* Maybe someday.

Syd Barrett: Opel — Everything that improved in Barrett’s songwriting after he left Pink Floyd (or, was forced out by necessity) is counterbalanced by the way his solo albums are seemingly produced to highlight his “madness” rather than his genius wherever possible. This is more of a problem on The Madcap Laughs than on Barrett and it’s hard to discern why, considering that both were produced by Barrett’s friends (Roger Waters, David Gilmour and others on the first, Gilmour alone on the second). You’d think they’d want Syd to get a sympathetic hearing, and not seem like a freak show exhibit. In any case, Opel is an odds-and-sods collection from an artist whose music is chaotic even in a more polished state. It isn’t an easy listen, and you get the sense that some of it should have been kept in the vault for the sake of Barrett’s reputation. But like everything he ever did, it’s got some intensely haunting moments, and others of intense joy. The alternate take of “Golden Hair” is among the former (and also as good a setting of a literary poem as any composer ever made), and the version of “Octopus” (here called “Clowns and Jugglers”) featuring Soft Machine is very much the latter. Worth hearing at least once.

Literature, etc.

Mark Blake: Comfortably Numb: The Inside Story of Pink Floyd — I continue to be distracted from David Day’s annotated Alice, but I promise it is very good. This is something I picked up from the library for research, which I likely won’t be finishing this time around, but it’s a really great book. Like all rock music from the pre-punk era, Pink Floyd has inspired some truly dodgy writing. But Blake is a class act, with a real sense for storytelling. He starts at the end, nearly, with the band’s reunion at Live 8 in 2005. And he uses the absence of one member at that reunion, Syd Barrett, to transition to the band’s origins — and to set the scene for oncoming tragedy. Blake gets great recollections from band members and associates in original interviews. This makes a great pairing with Nick Mason’s Inside Out, which, being a memoir, can’t lay claim to accuracy. Both are entertaining reads.

Movies

World of Tomorrow — Here’s one of the two animated shorts that everybody said got egregiously snubbed at the Oscars. I haven’t seen Bear Story, so I can’t say. But this was adorable! And really dark. And adorable! The story and writing are only okay, really. It’s not top-shelf science fiction. But the really clever thing is how it uses audio that’s clearly just random babbling of an actual child as a key part of its dialogue. It’s only 17 minutes long, and it’s on American Netflix, so if you have access to that, just go watch it.

Television

Deadwood: Season 2, episodes 7-12 — The back half of this season is, no question, some of the best TV I’ve ever seen. A few highlights: at pretty much exactly halfway through the series, Al Swearengen and Alma Garrett finally have their first scene together. It’s insane that those two characters have gone so long without actually meeting, but it’s a canny decision because it makes that scene feel really momentous — so much so that when Al emerges from Alma’s room, E.B. asks him, “Have we a new pope?” What a line. Then there’s the ending of the episode “Amalgamation and Capital,” which, without spoiling anything, brings several ongoing storylines to their separate conclusions so that they all combine to have one specific consequence. It’s the kind of showy storytelling that I don’t think TV saw again until Breaking Bad. And frankly, Deadwood has better dialogue. There’s Timothy Olyphant’s performance in the following episode. He’s a scary dude when he’s angry, but he’s heartbreaking when faced with tragedy. And, of course, there’s the arrival of George Hearst, a character who’s been talked about so often that you feel like it should be a momentous event when he actually gets to Deadwood. But the show undercuts it by sending E.B. Farnum to meet him in a state of gastrointestinal distress. This is now my favourite poop joke: “Allow me a moment’s silence, Mr. Hearst, sir. I am having a digestive crisis, and must focus on suppressing its expression.” Deadwood is a show that everybody should watch. I am dreading the third season, because I’ve heard about how badly cancellation threw the ending into disarray. But the two seasons I’ve watched so far are essential. Pick of the week.

Last Week Tonight: February 28 — The main reason this isn’t pick of the week is that you’ve almost certainly watched it anyway. (And also Deadwood.) I never wanted John Oliver to cover Donald Trump. I admired him for saying that he wasn’t interested in Trump on Colbert. Basically, the thing I love most about Last Week Tonight is that it focusses on topics that aren’t necessarily part of the news cycle at any given time and manages to find the relevance and humour in them. And covering Trump is the opposite of that. But Oliver’s right: ignoring him won’t help. As I write this, Trump is trouncing Ted Cruz on Super Tuesday. And the key insight that Oliver brought to the conversation is that Trump’s greatest asset is his name. Not necessarily the actual word “Trump,” although that helps. But, the Trump brand has massively positive connotations for many people, in spite of Trump’s actually pretty dodgy leadership. So, the best mode of attack is to strip him of his damn name. Make Donald Drumpf again, indeed.

Better Call Saul: “Amarillo” — Okay. I’m just going to take a moment to rain on the parade. I still love this show, and this was a good episode. Things are picking up. But I started thinking about where the points of tension are in this story. And they’re basically, “Will Jimmy screw up his hard-won new career, and ruin his promising new relationship?” And, putting aside the fact that we know from Breaking Bad that the answer is yes, I feel like I’ve seen this story before. That’s not a knock, though. Actually, it’s nice to see such skilled TV craftspeople making something so simple. Not everything has to be Deadwood.

QI: “Messy” — Stephen Fry’s leaving QI? My god, I hadn’t heard! I’m disconsolate.

Podcasts

Criminal: “Hastings” — This is a story about a day when an eighth-grader brought a gun to school and tried to fire it. It’s told by three people who were there: the principal and two former students, now grown. It’s refreshing to hear a story like this told with so much attention paid to the experience of the survivors and so little paid to the sensational details of the (potential) shooter’s life, mental health, etc. Criminal tends to be a show that I appreciate more than I love, but it could be that I just haven’t heard a bunch of the best episodes.

Fugitive Waves: “A Secret Civil Rights Kitchen” — A lovely, slight little story about a woman who used her phenomenal cooking abilities for social good. Like all Kitchen Sisters stories, it’s beautifully produced. Listen to this to find out if Fugitive Waves will be for you. And then, even if it’s not, go listen to “Waiting for Joe DiMaggio.”

Radiolab: “K-poparazzi” — Really great. This is presented as a counterpart to the story about Gary Hart: both ask the question, “how much do we want to know about our public figures?” But instead of focussing on American politics, this one focusses on K-pop. I kind of wish they’d tightened both stories up and added a third, so it could be a classic Radiolab themed triptych. But then, my attitude towards Radiolab is always mediated by misty nostalgia.

99% Invisible: “The Green Book” — A new producer! Nice. I love how 99pi can find a way to present just about any story as being about a design solution. The Green Book was a travel guide designed to help black people travel through the United States in relative safety during the years of Jim Crow. The last edition was published shortly after the Civil Rights Act was passed, but it’s still enormously informative of that time.

On the Media: “Spotlight on ‘Spotlight,’ the Movie” — This made me even more glad that Spotlight won Best Picture. Robby Robinson and Sacha Pfeiffer’s devotion to truth in storytelling obviously extends even to their own story. Brooke Gladstone doesn’t push Robinson too hard on why he and the Globe didn’t break the Catholic Church child abuse story earlier, because she doesn’t need to. The movie explores that side of the story just as deeply as it explores the journalistic process. I loved this interview, but mostly I just love Spotlight.

The Heart: “Ghost: Alex” — This didn’t work for me. The Heart’s previous forays into fiction/semi-fiction have worked because they relied principally on a third-person narrator, which is a familiar format for a podcast. This is just a straight-ahead radio drama, and while I adore that format, the writing and acting feels forced. I would have preferred if Kaitlin Prest had remained present throughout. Maybe that’s just me.

The Memory Palace: “Overland” — Hey, there’s humour in this! I love The Memory Palace, but I’m not sure I’ve ever actually heard humour in it before. I’ve also never heard Led Zeppelin in The Memory Palace before. Nice.

Reply All: “Zardulu” — This might be the best episode Reply All has ever made. It’s best not to know too much about this going in. I’ll just tell you that it involves a conspiracy, a number of enigmas, some head scratchers, and Justin Trudeau getting threatened by the Sasquatch. I’ll also tell you that I am now halfway convinced that nothing is real. Pick of the week.

Love and Radio: “Deep Stealth Mode” — This is actually an episode of Here Be Monsters that’s making a guest appearance in Love and Radio’s feed. I’ve never listened to Here Be Monsters, but it sounds like it’s basically just Love and Radio made by different people. This is a story of a mother raising a transgender daughter whose consciousness of her gender became obvious when she was three years old. In classic Love and Radio style, the narrative stays in the tape the whole time: it’s just the mother and the daughter. No host or interviewer. It’s a lovely little story, and probably more relevant than the one I’ve chosen as pick of the week, but relevance isn’t everything. Let’s call it “recommended.”

Pop Culture Happy Hour: “The Oscars Omnibus 2016” — It’s possibly more fun listening to this with the benefit of hindsight. The lack of outright dismissiveness towards The Revenant is appreciated. I get it, awards momentum makes things tiresome. But it’s a skillfully made movie, and this panel recognizes that. On the other hand, Bob Mondello’s dislike of Spotlight is totally beyond me. Doesn’t matter now, though, does it?

Pop Culture Happy Hour: “Small Batch: The 2016 Oscars” — Basically a continuation of the above. Nice to have Gene Demby on here to offer some insight into the problems with the Chris Rock monologue.

99% Invisible: “Norman Doors” — This is actually a video, but the audio from it showed up in my feed anyway. It does really work better with the visual element. Mostly it’s just cool to see Roman Mars show up as a Vox reporter’s audio spirit guide. But I’m also a fan of any instance where he gets to gripe about bad design. (I.e. his TED talk.)

All Songs Considered: “New Mix: Breakthroughs by Car Seat Headrest, The Coathangers, Big Thief, More” — Oh my god that Car Seat Headrest song is incredible. The full version is nearly twice as long as the video edit and that’s what you need to hear. Stream it here. Do it. A show that starts there and ends with Tim Hecker has got to be good. Actually, it’s probably the best All Songs I’ve ever heard.

All Songs Considered: “New Mix: Music From M. Ward, Nothing, Marissa Nadler, a Chat with Mitski & More” — There hasn’t been a song on these last two episodes of All Songs that hasn’t been awesome. I’ve already gone back and listened to huge chunks of these shows. Now I have to try and remember to actually check out the records when they come out. My highlights here are “Pentecost” by Kyle Craft, “Girl From Conejo Valley” by M. Ward, and “Your Best American Girl” by Mitski.

On The Media: “FiveThirtyEight Explains Super Tuesday” — Listening to statisticians talk about Super Tuesday was almost as depressing as Super Tuesday itself.

Imaginary Worlds: “Imagining Wonder Woman” — Wonder Woman has the most interesting real-world origin story of any superhero, bar none. Can Superman claim to be created by a renegade polyamorous psychologist with a whips and chains fetish, as a vision of a feminist utopia? No he cannot. This is fascinating.

99% Invisible: “Mojave Phone Booth” — Actually a Snap Judgement story, this is the tale of the man who discovered a phone booth in the middle of the desert and how it became a precursor to social media. Really good.

Serial: “Trade Secrets” — Again, we venture into the weeds, and again I can’t keep myself apprised. Presumably, the reason Serial was the breakout podcast is that it was exciting. Not that this is a virtue in itself, but I do think that’s a reasonable statement of causation. So, in a sense, it’s sad to see it descend into something so eye-glazingly boring. On the other hand, maybe it reflects admirably on the team’s principles: don’t just be fun, be important. Can you tell I’m conflicted about this season? Every time I sit down to write one of these blurbs, I tie myself in knots. This is the sort of thing I’m quick to say should exist in the world, yet I’m basically listening to it out of inertia at this point.

Pop Culture Happy Hour: “Downton Abbey and Nostalgia as a Genre” — I came so close to starting Downton Abbey. I even made it about five minutes into the premiere. But now that I know how swiftly it went south, I think I may sit this one out. As for the podcast, I love when Barrie Hardymon and Audie Cornish come around. But for some reason, this episode doesn’t seem as interested in speaking to people who haven’t seen the thing they’re talking about. Still fine. But that’s usually one of the reasons that I prefer this show to the likes of Pop Rocket, which is more insidey. Just saying.

All Songs Considered: “The 2016 Tiny Desk Contest Winner” — Gaelynn Lea is awesome. I love that NPR chose somebody with such an idiosyncratic sound as their winner. Frankly, finding talent like this is the entire reason why public broadcasters should still be in the music business. I could not love All Songs Considered more than I do this week. In fact, let’s give the three episodes I reviewed here a collective, honourary pick of the week. But Reply All is still the best podcast episode I listened to this week, no question.

And with that, I got my listen later playlist on Stitcher down to zero for the first time in months. Thank you, dishes. Thank you, running.