Tag Archives: Showcase from Radiotopia

Omnibus (weeks of Feb. 18 & 25, 2018)

If you are one of my seven regular readers, you’ll have noticed that last weekend was the first one since the beginning of this blog when I did not post an Omnibus, save for that time I was in the mountains. My apologies. Things have been busy. In any case, here are two weeks of reviews, with only one week’s worth of picks of the week, because honestly there’s not enough here to justify doubling it.

Also, I don’t want to talk about the Oscars.

19 reviews.

Comedy

Maria Bamford: Live at the Vogue — I love Maria Bamford. She is flat-out my favourite comedian right now. I love how convincing her characters are, and how quickly she can switch between them. I love how she interrupts herself and barely whispers some of her punchlines. I love how she interprets her own inner monologue as conversation. There’s nobody like her. Seeing her live was fantastic, but also a reminder that we are used to seeing our favourite comics in a highly edited and curated fashion. This was a selection of familiar material from Old Baby and unfamiliar stuff that ranges from instantly classic to bits I think could do with some paring back. In the first category: a bit about sexual roleplay involving intractable social problems (gentrification, living wage, human trafficking). In the second, a long bit where Bamford pits herself against her mother to see who is better at living by the Bible’s teachings. (Though I must say that Bamford’s account of the closest thing she had to a religious revelation is intensely satisfying: it is Nick Nolte coming out of the brush with a comically oversized submarine sandwich.) A great show, but also a reminder that live comedy is live comedy — even when it’s the best comedian in the world.

John Mulaney: New in Town — Mulaney does this thing I love where he establishes the details of a premise, then immediately takes it in a direction you didn’t think of. I guess that’s just what comedy is, but it’s really exposed here. There’s a bit about Mulaney encountering a wheelchair on its side on the street, with nobody in it. “That’s not a good thing to see,” he says. “Something happened there.” Pause. “You hope it’s a miracle.” Marvellous. I’ve watched this a couple times before. There’s a joke here and there that hasn’t aged well, but on the whole this is one of my favourite stand-up specials.

Movies

Call Me By Your Name — Of this year’s Best Picture nominees, this was the only one that I neither actively wanted to see nor actively wished to avoid. I can’t believe how much I loved it. You’ve likely heard people talk about the story of this film: a gay love story with a big age gap. And you might have heard comment on Timothée Chalamet’s brilliant, understated performance that will inevitably fail to win him an Oscar against Gary Oldman’s prosthetic jowls. But what makes the movie great is its ambiance. It is shot largely outdoors, entirely on-location in the Italian countryside, on glorious 35mm. Its exteriors are set in bright, verdant groves and by lakesides in the light of the romantic summer moon. Its interiors are set in airy country homes with studies lined by shelves of leather-bound books. It is soundtracked by the sublimely elegant music of John Adams, Bach, Ravel, Satie, and Sufjan Stevens. Magnificent food is seldom far from the centre of the frame. It is a movie about people with good taste — a movie that isn’t ashamed of its own aspiration to present things as straightforwardly beautiful. There’s nothing arch or cynical in Call Me By Your Name. It is a warm and glamourous sensory experience with a genuine emotional core and a brain. Also, the supporting actor category is a sham without Michael Stuhlbarg. Pick of the week.

Black Panther — We all expected it to be in the top tier of Marvel movies, and it is. There are quibbles to be had, i.e. it’s nice to see Andy Serkis’s actual face for once, but did we really need to see so much of it when Michael B. Jordan is the main villain? Almost everything else is glorious. Specifically, Wakanda is the most well-illustrated setting in the MCU thus far. The architecture, the clothes, the ceremony, the technology — every element makes Wakanda feel more real than the renditions of actual cities that other Marvel movies take place in. The cast is uniformly outstanding. Much has already been made of Jordan’s performance, and Chadwick Boseman is all kinds of regal. But my favourite performance in this movie by a million yards comes from Letitia Wright as T’Challa’s quippy little sister and science consultant. I loved Wright in Russell T. Davies’ Cucumber as well, so I hope we see her in many more gigantic productions in the coming years. Also, I am 100% there for more superhero movies in which different ideas of how to behave in the world are pitted against each other. This is an action movie that actually has time to discuss the relative merits of isolationism and interventionism — and to do so in the context of life for black people in modern America. Let’s have more of that, please. I have perhaps said this about too many movies for it to be meaningful anymore, but this time I mean it: if we must sit through this endless cavalcade of superhero blockbusters, I want more of them to have this kind of singular vision.

It — Being an adaptation of only half of a gigantic and famously discursive novel, this is about as good as it can be. Fundamentally, what is good about King’s novel makes it virtually unfit for adaptation: it is good not in spite of its various blind alleys and rabbit holes, but because of them. A big Hollywood movie has no choice but to pare the story down to its basics. So we get a tale of seven children, with variously well-established backstories, waging war against an evil shape-shifting clown. It’s a fine story, but it is a sliver of the rich tapestry King offers in the book. It is also deeply concerned with its familiar iconography: there is a much, much higher concentration of Pennywise here than there is in the book, and he appears in his famous clown form a far greater percentage of the time. Fine. There’s still got another whole movie to go, and since that one will focus on these seven characters’ adult selves, there’s still time for this franchise to hone in on the most fascinating element of the book: the fact that the real enemy is memory.

Music

Rued Langgaard/Berit Johansen Tange: Piano Works Vol. 3 — My coworkers and I have been obsessed with the criminally overlooked Danish composer Rued Langgaard since the new music director of the Edmonton Symphony Orchestra name-dropped him in an interview I did. Honest to god, this composer is the very best of all the forgotten composers I’ve come across in my classical music writing career. Every single piece of his I’ve heard is brimming with personality and excitement. None of it sounds even remotely like anybody else’s music. Ten years from now Langgaard will be the new Mahler. So, I was shocked to hear that one of my colleagues was deeply disappointed in this recording of some of his shorter works for solo piano. I have never heard a disappointing Langgaard piece. But here we are: most of this is only okay. Some of it is beautiful: particularly the chorale-like Shadow Life and the frenetic As a Thief in the Night. But much of it is a bit academic — not a trait I had previously associated with Rued Langgaard. I think this marks the end of my honeymoon with this composer. I still love him — but not unconditionally. It had to happen. Also, Berit Johansen Tange plays all of this with maximum conviction. She’s not afraid to get deranged when necessary. Props.

Literature, etc.

Greg Rucka & J.H. Williams III: Batwoman Elegy — The second full comic we’ve had to read in the comics writing class I’m taking. Lovely stuff. Superhero comics are not normally my speed, and there were indeed some stumbling blocks for me here: I am really not that interested in action scenes, even when they are as characterful and motivated as they are in this. And I’m definitely not interested in reading about any more grotesque, Lewis Carroll-inspired villains. (When will people be done with grotesque Lewis Carroll? Just let him be whimsical.) But Kate Kane is a brilliant character whose out-of-costume storyline is really compelling. In superhero stories, there’s always a central question of why this person feels compelled to operate outside the conventional justice and security apparatus of the state. Kane’s answer to that question is simple and possibly the most sympathetic of all: don’t ask, don’t tell. That in itself is a masterstroke. And Williams’ art is a wonder to behold. My one other encounter with him, in Sandman: Overture, found him in maximum psychedelic mode. He’s less over-the-top here, but still deeply artful and inventive — sometimes, it must be said, at the cost of clarity. But when it’s so pretty to look it, who cares. I’m surprised at how happy I am to have read this.

Kris Straub: Broodhollow, Book I — More required reading for comics class. This is a good fun webcomic with elements of comedy, horror and character drama all thrown together without jostling in the slightest. I am on the fence about it in general because I find the story so completely reliant on tropes (exposition on a therapist’s couch, outsider finds his way into a creepy little town, secret society with weird robes, things happening that might be all in the protagonist’s head, menacing businessperson, people forgetting the bad things that happen to them — Stephen King’s had the last word on that one) that there’s not much that’s memorable in it. But the execution is outstanding to the extent that I almost think that critiquing the story is beside the point. Straub is willing to just show our main character silently walking home after a supernatural encounter in a state of complete shock, and have that be a whole page of the comic. He’s a master of serialized comic storytelling, where each miniature strip (because it is very nearly a comic strip) is a complete unit in itself, aside from being an integral part of a larger whole. It’s good comics. It’s a pedestrian story told so well that it doesn’t matter. Almost. It kind of matters. This is mostly good.

Podcasts

Theory of Everything: “Time Travellin’ Trump” — Theory of Everything is surely the only podcast where you could ever get a story about Donald Trump inheriting a time travel ring invented by Nikola Tesla and using it to affect football outcomes.

Showcase from Radiotopia: “Secrets” episodes 4-6 — I can’t help but feel like I committed to this mini-series for the sake of committing. But I’m happy I stuck it out for the last episode, which is the story of two whistleblowers who went on the run from MI5. This has been mixed. Showcase in general has been mixed. I guess that’s the point.

Song by Song: “Downtown Train” — I’m happy they like this one. “Downtown Train” is one of Tom’s best, and the music video, which I’d never seen before, is gold.

Imaginary Worlds: “Travelling in the TARDIS” & “Behind the Daleks” — I’d listen to more of this mini-series on Doctor Who, but alas it is over. Focussing the three episodes on the Doctor, the companions and the Daleks respectively was a good idea, but there are so many specific avenues this could have taken. Hopefully Eric Molinsky revisits this in the future.

On the Media: “Blame it on the Alcohol” & “Back to the Future” — Brooke Gladstone’s special on alcohol in the media is a good time, and the episode on youth movements in politics is really great context for the Never Again movement. Listen to On the Media. Do it regularly.

Constellations: “karen werner – swimming through butterflies” & “jeff emtman – dream tapes” — “Swimming Through Butterflies” might be my favourite thing I’ve heard on this show so far. It’s the story of a scientist walking through a forest full of butterflies — that’s all that happens — but it’s accompanied by elegant cello playing that puts you inside the experience in a way that nat sound couldn’t. “Dream Tapes” is inscrutable and not for me.

The Memory Palace: “Hercules” & “Big Block of Cheese” — Two brilliant and utterly contrasting episodes of this magnificent show. “Hercules” tells the story of one of George Washington’s slaves. Nate DiMeo tells the story in a way that sheds the largest possible amount of light on Hercules’ humanity and the inhumanity of Washington’s slave ownership. It’s deeply moving and brilliantly written. “Big Block of Cheese” is a hysterical story about a man who wanted to become a notable American and did, for the stupidest reason. Pick of the week.

What Trump Can Teach Us About Con Law — “The Tenth Amendment” & “The Poisonous Tree” — “The Poisonous Tree” is the highlight among these two. I confess that I always enjoy this show but my retention of its stories is limited. I blame myself.

Beautiful Conversations with Anonymous People: “Sober Mathematician” — This guy is a bit too much of a Chris Gethard fanboy for it to be an entirely authentic interaction. I did enjoy hearing about his sobriety story, though. Gethard is a very good sounding board for people to tell those stories.

The Kitchen Sisters Present: “The Mardi Gras Indians — Stories from New Orleans” — A selection of stories about one of the most fascinating musical traditions in America. I really enjoyed this, and I can’t wait for this new series by the Kitchen Sisters about archivists to get underway.

Radiolab: “Smarty Plants” & “The Curious Case of the Russian Flash Mob at the West Palm Beach Cheesecake Factory” — I’m always down for a Radiolab story where Robert Krulwich takes the lead. Thus, “Smarty Plants” is fun. I am almost never down for a quick turnaround political story on Radiolab. Thus, “The Curious Case” is exactly the reason why this is no longer one of my top tier podcasts.

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Omnibus (week of Jan. 21, 2018)

A big week for podcasts, a small week for everything else. Also, if you’d like to hear me try and make a connection between a prototypical sound recording from 1860 and a Bruce Springsteen song, you are cordially invited to scrub to 2:00:57 in this podcast.

24 reviews.

Literature, etc.

Herman Melville: Moby-Dick — This is happening. I’m putting my whole reading list on hold for this, and I have no regrets so far. For now, I will only signpost that I’ve started it. I guarantee I will have lots to say about it at some point, but who knows when and in what form that will come. In any case: I have started reading Moby-Dick. Pick of the week.

Adam Gopnik: “The Corrections” — This is a long essay I found thanks to a link in a shorter essay I found thanks to the fact that I’m reading Moby-Dick. (By the way, I’m reading Moby-Dick.) Gopnik wrote it in 2007, which was actually a fairly long time ago, and it contains some blasé sexism that I suspect Gopnik would regret nowadays. Or, maybe I should say — it contains some blasé acceptance of the sexism in James Bond movies, but it adds up to the same. Also, it hails from a time when DVDs were dominant and people watched movies with director’s commentaries. (I do miss director’s commentaries.) Still, it’s a good piece of criticism. The subject is essentially alterations being made to established texts — like the abridged version of Moby-Dick, or Apocalypse Now: Redux. The Moby-Dick bit is the best. I’ll quote his conclusion here and leave you to read the rest should you see fit: “…when you come to the end of the compact ‘Moby-Dick’ you don’t think, What a betrayal; you think, Nice job — what were the missing bits again? And when you go back to find them you remember why the book isn’t just a thrilling adventure with unforgettable characters but a great book. The subtraction does not turn good work into hackwork; it turns a hysterical, half-mad masterpiece into a sound, sane book. It still has its phallic reach and point, but lacks its flaccid, anxious self-consciousness: it is all Dick and no Moby.”

Music

Barbara Hannigan: Tiny Desk Concert — What a perfect choice for the tiny desk. Hannigan is maybe the most exciting artist in classical music, full stop. And in this miniature set, she sings four weird German art songs by Alexander Zemlinsky, Alma Mahler, Hugo Wolf, and Arnold Schoenberg, which are all captivating. I would say I’d like to hear more art songs at the tiny desk, but frankly most art songs bore me to tears. It takes an expert curator with sublime musicianship to bring this off. It’s great.

Movies

Don’t Think Twice — I’ve been meaning to watch this since it came out, and was reminded of it on Chris Gethard’s last podcast. I confess, I have a personal stake in this because I feel as though it outlines an alternate timeline version of my life. It’s about a troupe of 20/30-something improv comedians on the precipice of either breakout fame or the need to give up entirely. I was an improv kid in high school, and I can attest to the accuracy of this movie’s portrayal of adult improvisers. When you spend so much of your time on an art form that demands constantly saying yes to everything and essentially ignoring your god-given impulse control, it can cause you to act really strangely in social situations. I gave improv up after high school, studied classical trumpet, and was never spontaneous again, thank Jesus. But I know people who kept going with it, and they were increasingly difficult to associate with because improv makes your brain work in a weird way, like you’re constantly on a mild stimulant. Mike Birbiglia (who directed this and wrote the bits that aren’t actually improvised) understands this, and in that sense, Don’t Think Twice is a fascinating movie to watch. The casting is flawless, with Keegan-Michael Key and Gillian Jacobs standing out in particular as two very different kinds of people that improv attracts. Key is the hyper-performative show-off whose sense of self depends on the attention of others. (I was this.) Jacobs is the team player who believes in the art, and the slightly mystical notion of “group mind” that it’s based on. Birbiglia’s best decision as a writer was to take these two archetypes and put them in a relationship. The personal drama in the film springs from the same personality differences that make its two central characters such different presences onstage. Birbiglia and Gethard flesh out other important elements in the troupe’s collective psyche. Birbiglia plays the flipside of Key’s character: the one whose hunger for attention goes unsatisfied and makes him an insecure man-child. And Gethard plays, seemingly, his younger self: a person who can’t find purchase in the world around him, and takes solace in an increasingly untenable dream. (If you don’t like movies about sad creatives, give this one a miss.) The problems I have with the movie are the same problems I have with Birbiglia’s stand-up. He’s a fantastic storyteller, but he always has a theme in mind and he’s completely unwilling to let it arise naturally. His impulse is always to use the most obvious metaphor. For example: he establishes at the beginning of the movie that the first rule of improv is to say yes. When you negate something a teammate says onstage, it’s called “blocking” and it’s the most basic error in the improv book. Near the end of the movie, Birbiglia has a relationship come to an end during an improv scene — in which the breaker-up blocks the break-upee. It’s too much, and in a movie about spontaneity, it really exposes the strings in a way that takes you out of the experience. This sort of thing happens a lot: an audience member will shout something to the troupe for the purpose of showing the movie audience how the characters are feeling, or an improv scene will ham-fistedly reflect on the goings-on offstage. But the contrivances in the story can be mostly forgiven because of how real the characters feel. I suspect this is a movie that plays a lot better for people who have some experience with improv. Watch it if that describes you, or if you like any of the actors in it, because it’s worthwhile for the performances alone.

Television

Doctor Who: “The Romans” — I enjoyed this more than I expected to, given my lack of enthusiasm for a) historically-focussed episodes of Doctor Who, and b) the William Hartnell era in general. But for all its manifold flaws, there are some charming things in this. First off, Hartnell himself is finally playing the Doctor as a character that’s identifiably the same as his future, more famous incarnations. You need only look at his gleeful expression when he realizes his role in the burning of Rome to recognize that Hartnell, for all his manifold flaws, invented this character in a way he’s not always given credit for. He’s flubbing his lines as much as ever, but he’s so charming in this. This version of the Doctor, the gleefully Rome-burning one, comes back in many a future “geronimo,” “would you like a jelly baby,” and “oh, brilliant!” It’s also marvellous to have Vicky around instead of Susan, because she was always a problematic character to say the least. Maureen O’Brien plays Vicky as intelligent, curious and brave — three things that Susan was manifestly not, in spite of the characters’ assertions that she was. I’m quite a fan of Nero being portrayed as a bumbling idiot whose key purpose is to get fucked with by the Doctor, who is in a particularly playful mood this time around. I am less fond of Nero’s tendency to chase Barbara — the show’s longest-standing female character — around his palace in a clear attempt to commit some form of sexual violence. That last bit aside, I have basically just enumerated all of the redeeming qualities in this story, which very much remains television from the 60s that is mostly of historical interest.

The Good Place: “The Burrito” — I’m still waiting for this show to repeat itself. This takes place almost entirely in settings we haven’t seen before, and introduces another whole mechanic into the show’s cosmology: an ageless judge played by Maya Rudolph — my second-favourite guest appearance in this show so far, after Maribeth Monroe as Mindy St. Clair. She can spin a line like nobody else. Still, I find myself much more interested in the twists and turns of the story itself than I do in the show’s larger thematic concerns or, crucially, the jokes. To a certain extent I think The Good Place is the first sitcom I’ve watched where the jokes aren’t always funny but it doesn’t matter. There’s a perfect example in this episode. Near the beginning, Jason comes up with the loony idea that perhaps the burrito sitting before the group is in fact the judge they’ve been looking for. Tahani replies: “Don’t be so bloody ridiculous. Judges aren’t food, judges are serious people who wear long silk nightgowns and big white powdered wigs.” In a Tina Fey show, that would not pass muster. It’s a moment where, according to the rhythms of a single camera, non-laugh track sitcom, there should be a joke, and that line fills the space — not especially well. But you don’t really need to laugh during this scene, because, crazy as it sounds, you’re actually caught up in the question of what is actually going on with that burrito. And Eleanor refocusses the conversation on that pretty much immediately afterwards. It’s a very distinctive comedy that can make you care about the identity of a burrito more than you care about the jokes.

Podcasts

All Songs Considered: “Viking’s Choice: The Year In Cathartic Screams And Meditative Drones,” “New Year, New Mix: Typhoon, Lucy Dacus, Anna Burch, More” & “New Mix: David Byrne, Sylvan Esso, Nils Frahm, More” — I always love the year-end Viking’s Choice episode with Lars Gotrich, but the MVP of these three episodes of All Songs is definitely the most recent of them. It features a David Byrne track, co-written with Brian Eno (I’m already salivating), an appearance from Tom Huizenga to talk about Nils Frahm (whose new album sounds more promising than his last, which I did like), and a beautiful track by Darlingside, who I hadn’t heard of but whose album I will 100% check out. Likewise for Typhoon. Mostly I’m writing this to remind myself what to listen to later.

Imaginary Worlds: “Brain Chemistry” & “Doctor Who?” — “Brain Chemistry” is a collaboration with The Truth that I liked well enough, though I never especially like The Truth. This is about a guy who gets cryogenically frozen and wakes up as nothing but a brain. Listen if that sounds like a fun premise. The real attraction, though, is the first episode of Eric Molinsky’s Doctor Who mini-series. It’s very 101, but for most people that’ll be necessary. Also Molinsky does something here that he’s done before, which I always love: he focuses in on the reception of a piece of fiction rather than its making, and he finds people whose reception of that fiction is unique in some way. The best part of this episode features an interview with a trans man and his wife about how the Doctor’s constant state of change gave them a language to use in reference to his transition. It’s lovely stuff, and I’m looking forward to seeing what more specific topics Molinsky dives into.

Constellations: “joan schuman – walking in bad circles” — Of all the podcasts I listened to while I was cooking this week, this is the one that probably got the rawest deal. Always listen to Constellations through headphones, folks. It’s the only way it works. All the same, I really like the phrase “walking in bad circles,” which makes up a significant part of this short piece.

Criminal: “The Choir” — A deeply affecting story about Lawrence Lessig, of internet law fame, and the way he dealt with a horrifying instance of childhood abuse by a predator. This is one of the heavy episodes of Criminal, which I can sometimes find hard to take. I like when this show does light subject matter, because it shows the flexibility of their premise, which is basically “crime!” But this one’s good.

The Memory Palace: “The Prairie Chicken in Wisconsin: Highlights of a Study of Counts, Behaviour, Turnover, Movement and Habitat” & “The Nickel Candy Bar” — The Memory Palace has a few kinds of stories that it does often. One of them is “driven, iconoclastic woman from a bygone time defies the norms of her era.” This is a good kind of story, and the first of these two episodes is a particularly good iteration of it. It also incorporates elements of another Memory Palace standby: the environmental parable. So, it is altogether one of the most Memory Palace episodes of The Memory Palace, and that is a good thing. “The Nickel Candy Bar” is a lovely thing with a bit more structural adventurousness than usual. It starts with one story, abruptly transitions to another, brings them together, then undercuts the whole thing. Marvellous.

Bullseye: “Rian Johnson & The Go! Team” — The Rian Johnson interview is what makes this worthwhile. He’s a charming and funny guy, and this conversation really drives home the thing I’ve been saying about The Last Jedi all this time: it’s just a Star Wars movie. A very good but totally ordinary and in no way groundbreaking or unusual Star Wars movie. The only exception to this that Johnson and Jesse Thorn get to is that the reveal about Rey’s parentage reverses the franchise’s reliance on bloodlines for narrative importance. Granted, that’s not a small thing. But it’s only one thing in a whole movie full of things that strongly resemble everything else about Star Wars.

Pop Culture Happy Hour: Four-episode catch-up — I’ll be seeing The Florida Project ASAP, but I believe I’ll give Mrs. Maisel a miss. This panel wasn’t hot on Phantom Thread, which doesn’t surprise me, but I’m quite certain I’ll like it more than them. I’m prepared for it not to be There Will Be Blood or The Master. But I’ll like it. I’m 90% sure. Will I watch The Good Doctor? No I will not.

Reply All: “Apocalypse Soon” & “The Bitcoin Hunter” — Okay, now I’m starting to want more bespoke stories and fewer segments on this show. “Apocalypse Soon” is a fine and deeply entertaining episode. Anything that finds Alex Blumberg giggling about a meme is okay by me. And “The Bitcoin Hunter” is a captivating Super Tech Support that does everything you want a Reply All story to do. But I want more Sruthi Pinnamaneni.

The Kitchen Sisters Present: “House of Night – The Lost Creation Songs of the Mojave People” — This is the story of two men who recorded and archived hundreds of Mojave songs. Being a Kitchen Sisters piece, it’s full of amazing archival tape and sounds great. But the story is compelling in itself. I always love how the Kitchen Sisters foreground the way that recordings and archives don’t just document, but can actually affect the course of history. In this case, a recording of a mostly forgotten song helped to save the Ward Valley and Colorado River from development by proving the longstanding Mohave connection to that land.

Theory of Everything: “Utopia (part iii)” — Instead of reviewing this I will tell a story about something that happened to me as I was listening to it. I started it on my lunch break, at which point I went out for a salad. As I sat and ate, I had a realization of a kind that I frequently have: that somebody I know has been trying to get my attention. In this case, it was a co-worker, and she was about to give up completely and leave me to my lunch when I looked up and saw her. Little did I know, this was not the whole story. The next day, a different co-worker came up to me and told me that he’d been waving at me and calling my name in that same restaurant at that same time, to no avail. He was just about to walk up to me and tap me on the shoulder when I noticed my other co-worker standing in the line. Two separate people tried and failed, or nearly failed, to get my attention while I listened to this. I guess it must be good.

Radiolab: “The Voice in Your Head – A Tribute to Joe Frank” — Oh god, how I wish I could dive into this guy’s archive for free. Joe Frank is a radio innovator I had never heard of until a few weeks ago, and I can already see how his work informs so much of what I love in radio. This features Jad Abumrad, Brooke Gladstone and Ira Glass talking about him, but aside from those three I see a huge debt to Frank in Nate DiMeo’s work, and even more so in Jonathan Goldstein’s. I could even see Kaitlin Prest being an acolyte of his. The stories they play here are outstanding and I will definitely be buying some of his pieces from his website (this is how he operated, even in a post-podcast world). This made me want to go make radio immediately. Pick of the week.

Beautiful Conversations with Anonymous People: “Boy Crazy” — This is a lighter episode of Beautiful/Anonymous, and also a lesser one. The caller is a 21-year-old artsy college student with some insecurities. The thing that makes the conversation work when it works is that Chris Gethard really relates to her, having been in much the same situation himself. But it’s awkward and meandering in a way that these conversations usually avoid being. I mostly enjoyed this. But the appeal of this format is that it isn’t always going to work. Really, the appeal of anything Chris Gethard does is that it isn’t always going to work.

Fresh Air: “Paul Thomas Anderson On ‘Phantom Thread’” — P.T.A. seems like a decent fellow. I’m prepared to basically enjoy Phantom Thread without being over the moon about it. But hearing the director talk about working once again with Daniel Day-Lewis and Jonny Greenwood makes me remember how much I love this guy’s work and everybody in his orbit.

99% Invisible: “Speech Bubbles: Understanding Comics with Scott McCloud” — Coincidentally, I just started a class on writing for comics. I read Understanding Comics a few years ago, and it blew my mind. McCloud is a very clever guy, and hearing him talk with Roman Mars is fun because they both get angry about bad design.

Song by Song: “Gun Street Girl, Rain Dogs, Tom Waits” — Phoebe Judge and Lauren Spohrer are the only two guests so far in the Rain Dogs episodes who haven’t really worked. You need pop culture geeks for a show like this, and as much as I love Criminal, Phoebe Judge manifestly isn’t that. Lauren Spohrer may be slightly more so, but this isn’t a very enlightening conversation.

Code Switch: “The ‘R-Word’ In The Age Of Trump” — In which Kat Chow gets called out by a listener for not calling Trump racist. But… institutions like NPR are huge beasts that can sometimes force you to work against your better judgement. Fortunately, there’s such a thing as Code Switch, where conversations like this can happen publicly.

What Trump Can Teach Us About Con Law: “The 4th Amendment and the Border” — “The border” is not a line, legally speaking. It is a space of up to 100 miles wide. Who knew?

Showcase from Radiotopia: “Secrets #3 – Broken Dreams” — A man hides his unemployment from his father for months. A good story, but the weakest of this series so far. I am not very invested in this, I’ll confess. But I’m too far in now to quit.

Omnibus (week of Jan 14, 2018)

I’ve had a big week for wasting time, and also a big week for getting stuff done that allows me to also listen to stuff simultaneously. You may enjoy the fruits of my labours below.

25 reviews.

Literature, etc.

Chris Onstad: Achewood — It’s been ages, but I went back to Achewood this week and fell right back in. I got the the end of 2004 in the comics, which was also the year when Onstad started writing in-character blogs as all of the major characters. I’m making my way through the first year of those now, because what’s a rabbit hole if you only go halfway down? The blogs are interesting because they’re less explicitly comedic than the strips are. They’re basically sincere character studies where every single character seems unique and well-rounded. That makes them a bit of a mixed bag. Ray’s blog, for instance, is intermittently insufferable because Ray is a rich asshole whose life is a fantasy from a men’s magazine. Seen from a third-person perspective, this is always funny. But when it comes straight from him, it can be rough going because he’s less ridiculous when seen through his own eyes. But the blog never drifts out of character, which is a testament to what a fantastic writer Chris Onstad is. Other characters fare better. I’m particularly fond of Pat’s blog, because Pat is the least sympathetic character in the strip, and thus the most likely to have a completely insufferable blog. So the very existence of the thing is a joke in itself. Also, it features a plotline in which Pat attempts to place the mailman under citizen’s arrest because in Pat’s crazed worldview, junk mail constitutes litter. Achewood is a marvel. It’s a whole universe. I love it.

Movies

The Shape of Water — I’ve always loved Guillermo del Toro as a visual stylist, but the only movie of his that really stuck with me for some time after I watched it was Pan’s Labyrinth. I think what I liked about it was that it presents a very simple metaphor about childhood trauma and takes for granted that you’ll pick up on it. So, it just focuses on telling a story and, even more crucially, presenting a cavalcade of memorable and distressing images. The Shape of Water is much the same. It is not a subtle movie. It finds del Toro wielding Michael Shannon like a bludgeon. More troublingly, it also finds him casting Octavia Spencer as a walking trope, which, ugh. That makes the movie’s central civil rights metaphor a tad less resonant. But all of the stuff that del Toro packs around that metaphor is really marvellous. Maybe the best light to see the movie in is as a tribute to the romances of golden-age Hollywood. Del Toro has always been a film geek first, a storyteller second. And this movie finds him geeking out not only about monster movies, which is his perpetual obsession, but also with musicals and melodrama. And look: there are days when I’m a chilly aesthete, and there are days when I’m totally on board for a musical monster melodrama. This hit me on one of the latter kinds of days.

Coco — I don’t much like to cry in public, so there were some uncomfortable moments in this. *sniff* Coco has one of the most satisfying narrative switcheroos I’ve seen in a while. If you’ve seen it, you know the one. It’s a late-game reveal that I genuinely did not see coming, which is also the element the film’s emotional impact hangs on. Where Inside Out’s effect comes from a sustained melancholy, Coco’s comes from a single surprise gut punch. And what a gut punch it is. I don’t like this quite as much as Inside Out or WALL-E, which remain my two favourite Pixar movies. (Were they this good when I was an actual child??) But Coco goes beyond those movies in a couple of ways. First off, it takes place partially in a convincing (according to my Mexican friend) version of small-town Mexico. Its visual style is a pretty brilliant amalgam of Mexican art and architecture with Pixar’s usual fantastical whimsy. Once the movie finds its way to the land of the dead, it really turns into a visual marvel. And it’s not just the setting — it gets a lot of mileage out of the fact that most of its characters are skeletons and can thus be deconstructed and rearranged at will. There’s a character in this, Hector, who is maybe the closest any animator has gotten to the genie in Aladdin in the past ten years. Story-wise, the tension that drives Coco is the same as in Ratatouille: there’s a kid who wants to be an artist but his family forbids it. But where Ratatouille portrays its protagonist’s family as mere philistines, Coco manages to find a reason why they act like they do that makes them sort of sympathetic. I think that points to a way that children movies have matured since I was a kid: there doesn’t have to be an obvious villain anymore. Coco does have a villain, but for the bulk of the movie the key antagonists are the hero’s own family, who basically have some version of his best interest at heart. This is much more subtle than The Lion King. This is charming. And I’ll note one final detail: the town it takes place in is called Santa Cecilia. Cecilia is the patron saint of music in Catholicism, and thus a significant symbolic figure in this story. Nothing’s an accident in a Pixar movie.

Music

Gustav Mahler/Leonard Bernstein, New York Philharmonic Orchestra et al.: Symphony No. 3 — Man, it’s probably been five years since I listened to this. Famously long, obviously. But when you’re sitting at home with a glass of Petite Sirah (I am a caricature of myself) and a few open browser tabs, it flies right by. The scherzo is one of my favourite movements in Mahler’s whole oeuvre. I remember learning the offstage trumpet parts back when that was a sort of thing I did, and for all of their endurance challenges, they are some of the most satisfying orchestral excerpts I ever had to practice. There’s a haunting delicacy to that section that’s the sort of thing only Mahler can muster. This isn’t altogether one of my favourite Mahler symphonies, but even his lesser works are essential, to me. And that scherzo. Man oh man.

Bruce Springsteen: The Wild, the Innocent & the E Street Shuffle — I think I prefer this to Darkness on the Edge of Town. I definitely prefer it to The River. Elements of it feel in retrospect like a warm-up for Born to Run, but it has an unexpected soul element that Springsteen wouldn’t really revisit after this. And I like that facet of this record. Much of the credit should likely go to David Sancious, a marvellous keyboardist who makes his final E Street Band appearance here, to be replaced by the equally brilliant but totally different Roy Bittan. Sancious is all kinds of funky throughout. “The E Street Shuffle” is a truly rollicking opener, and it’s the sort of thing that just wouldn’t fly on either of Springsteen’s next two albums. It’s got the requisite keen observational poetry, but it’s just too… fun for Born to Run or Darkness. Pete Townshend once said “When Bruce Springsteen sings, that’s not ‘fun.’ That’s fucking triumph.” It’s presumably those two albums, and Born to Run in particular, that he was talking about. The element of that classic style that E Street Shuffle is missing on about half of its songs is the profound romance — the seriousness. And while that makes it a less effective album, it also makes it a fundamentally different one, which can serve a different purpose in your rotation. On the other hand, if you’re worn out on “Jungleland” and “Backstreets,” “Incident on 57th Street” and “New York City Serenade” can easily fill in for them.

Bruce Springsteen: Nebraska — I can see myself coming to like this Springsteen album best of all. The guts it takes to make a record like this at that point in a career, I tell you. He’d just had his first major hit with “Hungry Heart,” and he comes back with an album of what were meant to be demos of almost unrelentingly bleak songs. But even that doesn’t quite get to the gutsiness of this release: try and think of a solo artist whose sound is more dependent on their band than Bruce Springsteen. The E Street Band is a way bigger part of their particular equation than, say, the Jimi Hendrix Experience was of theirs. And yet this album happened. Thank god Columbia Records had the guts to let it happen, too. Because, different as it is from everything else in his imperial phase, Nebraska has a delicate beauty that makes it stand up alongside Born to Run in terms of its ability to connect. Its palate of mostly acoustic guitar with a few ornamentations and a generous dollop of reverb reminds me of the first Bon Iver album, except made in 1982. My personal highlights are “Highway Patrolman,” which has a gorgeous melody and lyrics that compel you to actively listen to the story, and “Reason to Believe,” which may only feel as strong as it does because it’s positioned at the end of the album. After so many stories of hardship and wrongdoing, it’s nice to hear Springsteen sing about people’s tendency to keep their chin up in spite of it. I’m still processing this. I can tell I’ll be listening to it a lot.

Television

The Good Place: Every episode thus far — Look, I had some spare time this week, and not a lot of willpower to be productive. It’s been a dog’s age since I had a good long binge, so I binged on this. I am a big fan of Michael Schur, primarily because of Parks and Rec: a show that was one of television’s greatest joke factories, and also had a cast of characters it’s almost dangerously easy to get invested in. The Good Place is an astonishing show, but for neither of those reasons. The Good Place is the first television comedy I’ve watched entirely out of interest in the story. I’m not sure I’ve watched a show whose fundamental rules change as often as this one’s. Maybe Lost. But I’d wager that the twists-per-minute ratio of this show is even higher. I’m going to leave it there. If you’re thinking about watching this, watch it. Don’t read anything more about it, just watch it. If you don’t find it funny, just keep watching it. You will eventually realize there’s a sort of virtuosic storytelling at work here that is incredibly rare in TV comedy. Pick of the week.

Podcasts

Love and Radio: “The Machine” & “The Secrets Hotline, Vol. II” — The secrets episode is much the same as the first one, which is to say it’s a bunch of secrets told anonymously on an answering machine. It’s great. “The Machine” is a really great story about a guy who bulldozed a bunch of his town before committing suicide, and managed to be remembered as some kind of hero. Being the show that this is, nothing is allowed to be that simple. It’s great.

The Kitchen Sisters Present: “Levee Stream Live from New Orleans” — A live episode consisting of interviews taking place in the seat of a sawed-in-half Cadillac, this is the sort of thing that could only come from a collaboration including the Kitchen Sisters. New Orleans is a super cool place I really want to visit, and this is a great evocation of its contemporary culture.

Pop Culture Happy Hour catch-up — The highlight of the slew of PCHH I listened to this week was their annual resolutions and predictions show, which I always love because they’re always so wrong except for Kat Chow. Good listening.

The Hilarious World of Depression: “Linda Holmes Leaves Law to Concentrate On Watching TV and It Works Out Great” — It’s always a shock when you learn about the difference between a person’s public-facing aspect and their private life. I’ve been following Linda Holmes’s work for NPR and as the host of Pop Culture Happy Hour for years, including during the period that she identifies during this interview as a mental health crisis. It was never less than amazing. I hadn’t listened to this show before, and I’m not sure it’s necessarily for me, but this is a really good conversation. Holmes’s story really demonstrates that there are gradations of depression and anxiety and that even the lower gradations need to be acknowledged and dealt with. Lovely stuff.

Beautiful Conversations with Anonymous People: “The Puppet Master” — This starts off as a pretty ordinary episode of Beautiful/Anonymous with a guest of middling interest. Then he laughs. And as soon as Chris Gethard hears this guy’s laugh, we’re off to the races. I listened to this on a train at seven in the morning. I had to keep pausing it because I was losing my shit. There’s nothing like listening to people laughing. And he really does turn out to be interesting later. Everybody is. That’s the point of this show.

WTF with Marc Maron: “Darren Aronofsky,” “Marc’s Family” & “Ta-Nehisi Coates” — These are all great episodes. Aronofsky turns out to be quite funny and engaging. He was a fan of Maron’s from way back in his struggling stand-up days. Also, Maron hasn’t seen the end of mother! He’s actually interviewing Darren Aronofsky about that movie without having seen it all. I love that. The episode of conversations between Maron and members of his family feels like some much-needed catch-up on the years of the podcast that I missed. And the Ta-Nehisi Coates interview is completely scintillating. Maron is enraptured with this guy, and Coates just loves how good he is at listening. It’s fabulous. Listen to that one.

The Organist: “How to Be in Two Places at Once: The Firesign Theatre in the US and Vietnam” — I am so glad this show exists. We need more arts and culture podcasts that are about long-form storytelling rather than conversation and criticism. I love those shows too, but I feel like Studio 360’s American Icons series has been cornering the market for long enough. I actually found a record by the Firesign Theatre in the five dollar bin at my local record store while I was digging for a gag gift recently. I did not pick it up, but it left me wondering about what it was. Apparently, they were a group of avant-garde comedians and sound artists who made records that had a substantial countercultural impact in their day. This is a good introduction to Firesign because it focuses not on the members of the troupe themselves, but on the people who listened to and understood the records in various contexts. Too often arts journalists default to interviewing the artists. The artists are arguably the least important people involved in a work of art. I will listen to this show a lot, I think.

Trump Con Law catch-up — The episode about whether or not you can prosecute a president is maybe the archetypal example of this show: it opens up the possibility that a thing you want to happen could happen, then shuts it down and makes you realize that it might not actually be a good idea anyway. I’m getting into this now, even if it kind of makes me even more fearful.

On the Media: “The End Is the Beginning” — Come for the retrospective on early third-wave feminism, stay for the tribute to the late Joe Frank — a radio producer I didn’t know and now am in love with.

Uncivil: “Song” — Basically, “Dixie,” the song widely regarded as the anthem of the Confederacy, was written by a white Yankee. Except actually no, it wasn’t, because it was probably taught to him by a black man. It’s a complicated, compelling story and if you want it in detail, this episode is the place to be.

Longform: “Zoe Chace” — Chace is one of my favourite This American Life producers, but the story of how she got there is pretty familiar. You just get an internship to get your foot in the door and do everything you can to stay there forever. That’s the gist of this, though it’s a good conversation because she’s good at talking.

Theory of Everything: “Utopia (part ii)” & “False Flags” — The second utopia episode features an attempt at utopia that seems to be falling apart less than the attempts in the first episode. But that’s because nobody there regards it as a utopia. So that’s interesting. But it’s “False Flags” that really caught my attention. Benjamen Walker merges his argument about the increasing prevalence of conspiracy theories with an amusing fictional vignette about him getting yelled at in the airport. That’s what I come to this show for.

The Daily: “Special Episode: The Year in Sound” — This is largely Barbaro-less: a collage of mostly Trump-adjacent sound bites from a completely insane year. Remember Scaramucci? I had completely forgotten about that guy. What kind of a year lets you forget that Anthony Scaramucci was in the White House for, what was it, a week?

Showcase from Radiotopia: “Secrets,” episodes 1 & 2 — This new series from Radiotopia’s rotating exhibition space is not particularly experimental or innovative, but both of these episodes have told really compelling stories. The first is about an undercover cop, and the second is about a wildlife photographer who faked his photos. Start with either.

Home of the Brave: “Two More Stories About Mountains” — The first of these two guest stories is an interview with Scott Carrier, with added music. But it’s the second that knocked me flat. “The Ascent to K-2” is a story by Joe Frank, who was still alive when Carrier released this episode, but who died shortly after. I became aware of him thanks to On the Media, and heard my first full piece of his thanks to this. This is an intensely odd narrative about the strangest (totally made up) attempt to climb K-2 that has ever been undertaken. It is radio storytelling at its oddest and best. Pick of the week.

The Turnaround: “The Turnaround with Dick Cavett” — Ah, I forgot how much I enjoy hearing Jesse Thorn interview people about interviewing. Cavett is good fun, and he taught me a new word. I’m going to paraphrase my favourite part of this interview. Cavett says, I think the lack of a sense of humour is the ultimate lack. It is un-human and inhuman. Thorn says, I wonder if the president finds anything funny. I’ve never seen him laugh at something funny. Cavett says, oh no, he’s a born clodpate. CLODPATE! I love it. Great stuff.

99% Invisible: “Mini-Stories: Volume 4” & “Thermal Delight” — This might be my favourite batch of mini-stories yet, but “Thermal Delight” came and went from my brain. To be fair, I was in the heat of cooking at the time, and sometimes that happens. It’s nobody’s fault but mine.

Code Switch: “This Racism Is Killing Me Inside” — This is about weathering, which is one of the most unsettling effects of racism. If you want to know more, you should listen to this episode. This should be a show you listen to always.

Omnibus (week of Nov. 12)

The long-awaited North by Northwest segment on ISCM World New Music Days is here, and can be found at 1:21:50 of this podcast. Back to business as usual in the December instalment. Meanwhile, here are this week’s 14 reviews.

Movies

Lantouri — I saw this with a friend at the Cinémathèque, which is doing a series on contemporary Iranian cinema. Since, like many people, I know only one Iranian filmmaker, I figured why not. Should be a lovely afternoon out. Holy shit was this ever something. It’s the third feature film of Reza Dormishian, who is apparently one of the bright lights of his generation in Iranian cinema. If Lantouri is any indication, he’s also one of the most skilled directors in the world, in the idiom of EXTREMELY INTENSE FILMS. It’s the story of a Tehran street gang (sort of), and their leader’s increasingly creepy infatuation with a steely journalist. It opens as a talking heads-heavy fake documentary, but becomes increasingly cinematic as the story ramps up. That’s a clever device, because Dormishian can get his themes and social critiques on the table at the start, and then proceed to just tell a story, having established a framework of ideas at the outset. And that latter part of the movie, when the documentary element begins to wane, tells a story that’s so unrelentingly tense that you may stop breathing. Dormishian charts the course of his protagonist Pasha’s non-relationship with the reporter Maryam in a sort of fractured, alinear way where you see key moments taking place from multiple perspectives. It’s a tricky dance, but as information gradually accretes, we start to understand Pasha as a monster. The film’s turning point comes in a scene where you know exactly what is going to happen, because you’ve already seen it from a distance. But you don’t know when. The suspense comes from certainty rather than uncertainty. And it is almost unbearable. The same can be said for nearly the whole final act of the movie. Definitely watch this, but only when you’re in the mood for something sort of grim, and totally unrelenting. Pick of the week.

Logan — Wow, this is a very sad X-Men movie. And maybe the best X-Men movie. I never expected to say that about a movie that doesn’t have Magneto in it, but here we are. Wolverine has never been the most interesting part of this universe to me. I’m far more interested in the conflict of values between Charles Xavier and Magneto. But the Wolverine we see in this film is different from the one we see in the other films. Not entirely different, mind: Hugh Jackman is clearly playing the same man as he is in every other sardonic appearance in the X-franchise. But this movie’s iteration of Logan/Wolverine sits on a far-out promontory of the island that is that character. There’s always been a hint of the Man With No Name about Wolverine, and more than a hint of Dirty Harry. But in this movie, Hugh Jackman melts the brooding asshole from the previous films down and pours him into a patently Clint Eastwood-shaped mould. The same goes for Xavier, who is finally a character worthy of Patrick Stewart’s talents. Logan’s degenerating Professor X is its most tragic element. All of this could only work in the film that’s designed to retire Wolverine forever. Or, at least the Hugh Jackman version of him. The reality of contemporary blockbuster cinema is that you cannot put characters in situations that risk breaking the universe, and therefore the prospects for further profit from endless sequels. Logan has no qualms about pushing continuity to its breaking point, and in doing so it gives us a glimpse of what genre cinema has sacrificed in the era of the cinematic universe. There’s a lot of power in seeing a familiar character in an unfamiliar setting. Writers of fanfic and tie-in novels have known that for decades. Logan is what that concept looks like when you pour a hundred million dollars into it. I’d be immensely more enthusiastic about superhero movies if more of them were like this.

Literature

Brooke Gladstone: The Trouble With Reality — This very brief book, which was written and published with furious speed after the election of Donald Trump, is an outstanding synthesis of thinkers from Hannah Arendt to Philip K. Dick about the way demagoguery distorts reality. But I wish I’d read it when it came out. Troublingly, I feel as though I’ve already apprehended much of what Gladstone writes here by osmosis as this weird bad year has rocketed along. I say troublingly because I also feel I’m becoming inured to the notion that the world is being controlled by people whose live in a different reality from me. The most useful thing in Gladstone’s book is a spirited ending in which she entreats us to actually fight against this: to arm yourself with information that will allow you to at least understand the reality of others. Still, it feels like a rallying cry from a previous version of the world — a version that didn’t know how baffling this new phase was going to be.

Jorge Luis Borges: “The Theme of the Traitor and the Hero” — I’m finding the stories in the Artifices more varied, but also a bit less ambitious than the ones in The Garden of Forking Paths. This one is a fun examination of how a particular story (of Borges’s invention) might have come to be. But it’s a slight thing. None of the tiny little stories in this collection have quite managed to pack the wallop of equally brief stories like “The Library of Babel” or even something like “The Circular Ruins.” I’m not complaining; this is still brilliant, and Borges still comes off like a fantastically interesting dinner companion who has some thoughts to share with you in a collegial and friendly manner. I love that.

Jorge Luis Borges: “The Secret Miracle” — Now we’re cooking. Aside from “Death and the Compass,” which was one of the first Borges stories I read, this is probably my favourite story in the Artifices so far. What I particularly love about it is that it’s a story about a man’s very personal inner experience: its resolution involves a thing happening that, by definition, only one person could possibly know about. But Borges still approaches the story like a literary critic writing a biographical sketch. There’s an element of satire here, I think: Borges’s narrator is a critic so penetrating that he is actually aware of his subject’s complete inner life. Surely there are critics out there who believe this of themselves sincerely. But it’s easy to miss the satire, if indeed it is satire, because Borges doesn’t focus on it. He just tells the story, largely from the third-person omniscient perspective of the protagonist. And that story is sufficiently affecting that the meta-narrative, for once in Borges’s career, seems beside the point. Marvellous.

Jorge Luis Borges: “Three Versions of Judas” — And here we have an account of a heretical theologian’s notion that God’s human incarnation wasn’t Jesus, but Judas. The thing I love most about Borges is that he comes up with incredible premises for sprawling books, but knows those premises are ultimately worthier than their execution would be. So he summarizes them in four or five pages. This is one of the most complex things he’s ever distilled, and it never seems undercooked.

Music

George Harrison: All Things Must Pass — I had to listen to this to make certain of my assertion last week that I prefer RAM. I do. But still. This is two-thirds a classic. The other third, the “Apple Jam” that makes up the final LP of this triple album (it’s almost like he had something to prove) is the sort of aimless blues jamming that’s probably the reason nobody listens to Eric Clapton anymore. But for the two LPs where Harrison focusses on songs, he barely puts a foot wrong. I’ve never been a huge fan of “My Sweet Lord,” but “What is Life” might well be the best single a Beatle ever put out as a solo artist. And of the eighteen tracks on those first two-thirds of the album, I daresay ten are classics. “Wah Wah” is impossible to only listen to once. “Isn’t It A Pity” is so good that it’s on the album twice. “The Ballad of Frankie Crisp (Let it Roll)” is a song awaiting its rightful place in a Wes Anderson movie. I could go on. The most notable thing about the overall feel of All Things Must Pass is how completely different it is in approach to the Beatles records. Where John assembled a small band to play his songs straightforwardly and Paul insisted on doing everything himself — both of which were approaches with precedent in the Beatles catalogue — George called up everybody he knew and jammed. And while this partially resulted in the album’s tedious third LP, it also made for a rollicking, spirited album that has more in common with Blonde on Blonde or (dare I say it) Exile on Main St. than with Sgt. Pepper. A classic.

Cat Stevens: Tea for the Tillerman — So I watched Rushmore again this week. You don’t need to hear any more of my opinions on Wes Anderson. Go back here. But there’s a Cat Stevens song in that movie that I love. I’ve had this experience before (i.e. in Extras), so I figured I’d finally decide once and for all if I’m a Cat Stevens person or not. I don’t think I am. This, which the internet tells me is his most acclaimed album, is nice. But there are only a few tracks that have melodies that can match the great ones that leapt out at me initially. The title track is beautiful enough that it’s short duration is almost painful. “Father and Son” is lovely. But I’m mostly left cold.

Cat Stevens: Matthew & Son — That song from Rushmore that I love so much is on here (“Here Comes My Baby”) so I figured I’d give it a shot to make absolutely sure I’m not a Cat Stevens fan. And I’m not. But I do also love “Matthew & Son.” The rest of this is reeeeeeeeeally dated. And I’m a person who actually likes 60s pop.

Podcasts

Fresh Air: “Lou Reed: A Life” — A great interview about one of the pop music legends who most belongs on NPR. That might seem odd given that Lou Reed is all sex and drugs all the time, but he also had more explicit ties to the fine art world than just about any other rock star. Both sides are discussed here. Really nice.

The Sporkful: “The Last Sporkful Thanksgiving Special Ever” — What I love about Dan Pashman is that he’s thought about food as a cultural phenomenon so much that he can see past the trend stories that foodies are all about. In short, he doesn’t want to put horseradish in the mashed potatoes. A lesser food podcast would fall right into the trap that Pashman explicitly avoids here, which is failing to acknowledge that Thanksgiving is meant to be a tradition — not a showcase for avant-garde culinary showmanship. It isn’t even Thanksgiving in my country and I still really enjoyed this.

Showcase from Radiotopia: “The Polybius Conspiracy” Episodes 4-7 — So, I’ll confess something up front. I didn’t know that this was partially fictional until I read that it was. Which was after I’d finished the whole thing. I’m not mad about this. I hardly could be, as the co-creator of Mark’s Great American Road Trip (though I will say that mistaking that show for nonfiction is a whole level dumber than what I’ve done here). I actually really love stories and shows that sit on the precipice between fact and fiction (see also: Theory of Everything, the dearly departed WireTap). And I’m saddened by the prospect that this is increasingly frowned-upon territory in a world where people are actively trying to fuck with your sense of reality for their own political or financial betterment. So, I really don’t mind that I was misled. It’s a harmless misunderstanding. But I can’t help but think that the fictional component of this story — the bit about the character Bobby, and the people he associates with — was only compelling to me with the understanding that it’s something that actually happened. As an invented narrative, it strikes me as unimaginative. I’m beginning to feel as though the semi-factual nature of this podcast was intentionally downplayed to compensate for a half-cooked story. Ah, well. On to the next thing.

You Must Remember This: “Boris & Bela” Parts 3-6 — This is turning out to be a really fun little season of this show. Telling the stories of Bela Lugosi and Boris Karloff in tandem is a great idea, since their trajectories were so completely different and therefore illustrate different tendencies in the same industry at the same time. I’m looking forward to the thrilling conclusion.

Pop Culture Happy Hour catchup — Comfort food, in audio form. I was talking with a friend about this recently. I’m not sure what it is about this that makes it so soothing, but I feel lighter when I listen to this — moreso even than when I’m listening to comedy shows like Judge John Hodgman or Stop Podcasting Yourself. It’s a beautiful thing.

Omnibus (week of Oct. 22, 2017)

Happy Halloween. I’ve got a couple of CBC things out this week, both focussed on spooky stuff. Firstly, my piece on a filmmaker who has made a horror experience for VR headsets was featured on the national program The Story From Here, which is certainly nice. You can hear that piece at 8:15 of this podcast. Do stick around for the story about learning the Mi’kmaq language; it is great and much more important than my Silly Documentary About Screaming. Also, if you really want to go deep, you can see some very embarrassing video of me during the VR experience here.

Also, yesterday’s instalment of my usual pop culture column was a Halloween spook fest that I facetiously titled “SERIOUS HALLOWEEN,” because this time of year is altogether too silly, and nobody can rectify this but me. That’s at 1:22:04 of this podcast.

Now, here’s a fairly slight instalment of Omnibus. I’ve been busy. 12 reviews.

Movies

Loving Vincent — This is the world’s first fully oil painted movie, done entirely by hand. The movie makes sure to tell you this in an intertitle right at the start, because the gimmick is the point. What else could the point be? Surely not the story, which is rendered in such awful dialogue that it actually obscures the fact that Vincent van Gogh’s life was profoundly interesting. But really, even the gimmick lets us down, because while the film’s environments are ripped straight from van Gogh’s magnificent canvasses, its characters are painted with a level of realism that feels completely out of place. It is horribly obvious in places that the painted frames of this film are meticulous recreations of filmed footage. I halfway think that a film like this is actually impossible to pull off, because the central question it poses to its filmmakers is: how would movement work inside of a van Gogh painting? I frankly don’t see how it could. Perhaps somebody with a heck of a lot more visual imagination than me could think of a way. But now we know for sure that it doesn’t work the same way as it does in traditional film footage. This is a worthy experiment, but it isn’t a remotely good movie.

Television

The Chris Gethard Show binge — I fell down a Chris Gethard hole. I’ve never seen this before, but this week I watched a semi-random handful of episodes. Specifically and in order of viewing: s02e09, s01e03, s01e06; public access episode 105, s02e01 and s02e08. Normally I have problems with this kind of wacky alt comedy, and I have some problems with this as well. If it’s only funny because it’s weird, it’s probably not going to be funny to me. But Gethard makes up for the occasional lapse into alienating anti-comedy by being deeply, actively compassionate towards everybody around him all the time. Even in this fairly short random survey of the show, issues of mental health come up semi-regularly, and it’s pretty clear that Gethard sees it as part of his job to help people who are feeling awful feel a little bit better by being an idiot on television. This is lovely. Of the episodes I’ve seen, I would most highly recommend s02e09 featuring Paul Scheer and Jason Mantzoukas and a dumpster containing an INCREDIBLE surprise, s01e03 featuring Seth Meyers and a full contingent of cast members having not slept for 36 hours, and s02e08 which has Maria Bamford so you can’t possibly need to know anything else. Pick of the week. 

Music

Roger Waters: Is This The Life We Really Want? — Oh dear. At the time of writing, I’m going to see Roger Waters tonight, which is very exciting. I’ve seen him twice before and both times have been highlights of my concert going life. But hearing this has left me slightly concerned. I generally don’t mind Waters’ political sermonizing, because he couches it in memorable turns of phrase and has a real knack for taking huge issues and making them personal — usually with elements from his own life. Far from being self-indulgent, this is in my view the specific reason why The Wall and The Final Cut work so well. And even when he steers clear of the specifically personal, he can oftentimes embed an obvious social critique within a narrative framework that makes you look at it in a new way. I’m thinking particularly of the wonderful conclusion of “Amused to Death,” in which a team of alien anthropologists happens upon the wreckage of human society and can only conclude that we consumed our way to extinction. There isn’t a whole lot of that on Is This The Life We Really Want? The entire album is approximately as straightforward as the title. He’s never beat around the bush, but this time around he’s as subtle as a bullet to the kneecap: “Picture a shithouse with no fucking drains/picture a leader with no fucking brains.” The album isn’t without musical merit, and there a few good lines here and there. Still, I can’t see myself revisiting this very much. And I say that as an avid fan of Waters as a solo artist, as well as in Pink Floyd. Still, I bet these lyrics will kill in concert. Will report back.

Podcasts

You Must Remember This: “Bela & Boris” parts 1 & 2 — Oh, this is fun. One of my favourite shows is back for a spooky season about the early sound era’s two most iconic Hollywood monsters. Love it. So far we’ve focussed primarily on Bela Lugosi, who is creepy in ways that nobody knew. The highlight of these two episodes is Lugosi’s terrible dating advice for Boris Karloff, advice almost certainly written for him to say on air by a publicist. Can’t wait for more.

What Trump Can Teach Us About Con Law: “War Powers” — This show always makes me feel like we’re all going to die.

Pop Culture Happy Hour: Six-episode catch-up — Marvellous stuff. I love this show even more now that they’ve brought in a wider variety of guest panelists. And the interviews included in this span of episodes are gold, particularly Linda Holmes’ conversation with Tom Hanks. What a likeable fellow he is, and Holmes has some fantastic questions for him. I halfway want to read his short story collection. Anyway, I don’t have any very specific thoughts on this, but it’s an absolute pleasure to listen to a whole bunch of episodes in a row. Do that when you get a chance.

The Sporkful: “As Hot Chicken Gets Hotter, Who Benefits?” — The Sporkful tackles race again, while Dan Pashman eats very spicy food. What more do you want? I’ll tell you what I want: I want some hot chicken. I want it worse than I ever knew I could want a food I’ve never had.

Showcase from Radiotopia: “The Polybius Conspiracy” episodes 1-3 — This is a fun serialized conspiracy show about a haunted video game. But it’s also a vaguely troubling exploration of somebody’s story who is either delusional or a fraud. I’m enjoying it but I feel compelled to withhold judgement until the end.

The Decision: Episodes 1 & 2 — I heard about this on Pop Culture Happy Hour, and it sounded so fun that even my aversion to sports couldn’t stop me from checking it out. Basically, the host Alex Kapelman is looking for a new NBA team to cheer for because the Knicks suck. So, he’s invited fans of every team in the league to pitch him on why he should switch allegiances. The first episode of this introduces the premise with help from the great Linda Holmes, and the second features the always clever Gene Demby on why the 76ers are the team to switch to. I don’t know if I can bring myself to listen to all of this, but I will say that as an avowed non-sports fan, I appreciate how these two episodes talk about sports as a cultural phenomenon rather than a mechanical obsession.

Beautiful Conversations With Anonymous People: “Hiding In A Storage Space” — This is what initiated my deep dive into The Chris Gethard Show. I was aware of this podcast from This American Life, which played an edited version of a really extraordinary episode where Gethard helps his anonymous caller get out of a terrible rut. I’ve meant to listen to this since then, but only just got to it. I picked an episode at random and wasn’t disappointed. I should say, the premise of this is that an anonymous caller phones in and Gethard is obligated to talk to them for one hour until the line closes. This episode’s caller is a dude who seems to be going through some pretty typical mid-life dude shit, which Gethard calls him on. But he doesn’t check his compassion at the door, and I think it’s safe to say he helps the guy realize some stuff. I’ll return to this for sure.

The Heart: “A Woman on the Road is Alone” & “Darqness” — The former episode is a quite lovely feature from a show called Bitchface which sounds like it’s worth another look. The latter is a profile of a dance music collective in Portland that aims to make a safe space for queer and trans people of colour. These are both great.

In Our Time: “Feathered Dinosaurs” — Way back in grade four, when I was eight years old, I was in a program at my school that required students to do independent study projects in addition to the usual curriculum. In retrospect, I think that might have been a pretty formative element of my childhood. More than anything else in school, it was the program that made me realize that life is more fun when you know things. My very first independent study project was on the feathered dinosaurs whose fossils were revolutionizing palaeontology in the 1990s. Folks knew about this stuff long before, but I think my childhood coincided approximately with the moment when the idea of birds evolving from dinosaurs entered the popular consciousness. I was captivated. Honestly, I haven’t thought about them much since then, but this episode of BBC’s always wonderful panel show served as both an excellent trip down memory lane and an update on how the field is doing these 20 years later. (Lots has changed.) The panel is great fun, and you can almost hear Melvyn Bragg beaming as he interviews them. I suppose even he has an inner child, buried somewhere beneath all that acuity. Fuck, I love dinosaurs. Pick of the week.

Omnibus (week of Sept. 17, 2017)

Well hi. Here’s the link to the latest segment on CBC Radio, in which I discuss the slippery notion of “creative beginnings.” Also, if you listen really closely you can hear my quarter-life crisis humming in the background. Fun! I’m at 1:21:19.

23 reviews. The classic number of reviews. (I think there’s been 23 more than any other number of reviews.)

Games

Everything — Not long after I posted my last, very satisfied review of this, I finished the section of the game that apparently constitutes the tutorial. Well then. It’s a clever structural tactic, actually: once all of the game’s mechanics are introduced, Everything beckons you back to the place where you started: an oddly shaped golden gate that you can now actually enter into. It leads to an inescapable prison, where every object is miserable and solipsistic. But if you’ve been paying attention to Alan Watts’ proto-hippie voiceover lectures, you’ll know that they’ve all got the wrong idea. They don’t realize that everything is everything else. This is the one part of the game so far that presents a clear objective: escape. And of course, you can do so by using the mechanics you’ve learned already, in a neat bit of symmetry with the more abstract set of realizations the game takes for granted that you’ve internalized. Once you escape, you’re treated to a very late-90s cinematic that has the feel of an ending, but which culminates in the words “Welcome to Everything.” Because a game like Everything can’t have something so banal as an ending. The object of the game is to explore, and that’s not an objective that can be deemed complete by anybody save for the player. Another note: this game has a highly customizable autoplay mode that takes over when you stop playing, basically rendering it a deeply contemplative screensaver. This is far more satisfying than you might think. I let Everything play on its own while I made lunch today, and I saw more of it than I probably would had I been in control that whole time. So if you’re playing this, don’t discount that mode. Put it on while you’re reading, or something. If I had a television in addition to this damned laptop, Everything might make nice ambience for the apartment. I’ve never seen anything like Everything before. In a sense it’s staggeringly ambitious — a game that illustrates the whole of creation. But in another, it’s a pleasantly modest and quirky little confection that can take the edge off if you’re stressed out. I’ve come to like it a whole lot.

Television

Battlestar Galactica: Razor, Razor Flashbacks & Season 4.0 — BSG is not so much a show as a hole you fall down. This week I fell down the hole. For clarity: I watched the TV movie Razor, the series of short webisodes Razor Flashbacks and the first half of the fourth season, officially known as Season 4.0 (as opposed to 4.5, which is next week’s project). I understand I’m a season and a half into the part of the show that people think isn’t good. I only halfway understand that. Seasons two and three are in my view equally patchy, with the high points of season three being among the most staggering episodes in the series. So far, this is holding up that pattern. Razor and its largely redundant flashbacks are not among the show’s finest hours, but it’s fun to see the events of a fascinating moment in the show’s timeline through an unfamiliar perspective. I can imagine that it might have been frustrating on original transmission, seeing how it has very little to do with the enormous cliffhanger of the season three finale. But from a binge-watching perspective, it’s exactly what the show needs at this moment: a reprieve from the acceleration of the show towards its much-prophesied endpoint, and a trip back to the simpler times of mid-season two. As for the season itself, it feels creaky at times, but only to the same extent as the last two seasons. Occasionally there’ll be a joke that falls flat or a line that doesn’t make sense. “It’s time to take a stand. And that time is now,” Baltar says at one point. Half of that line shouldn’t have made it to the shooting script. But then, Baltar is getting to be the show’s biggest problem. He was fun at first, and I enormously enjoyed the arc that led him from the presidency to the trial of the century. But as a prophet, and an increasingly sincere one at that, he’s less fun. The spiritual element of Battlestar Galactica has always been my favourite thing about it. The collision of political power, military might and religious devotion that fuels this show’s large-scale conflicts are starting to feel increasingly like a far more interesting (and earlier) version of what Game of Thrones is at its best. But having Baltar at the centre of it strikes me as a bit arbitrary — just something new for him to do. (Also, where has Head Six been these last few episodes? She vanished like Lear’s fool as soon as Baltar took the lead of his cult. Will she be back? I sure hope so.) I don’t really have much more to say about this in general. Only specific gripes like the fact that I’m not especially happy to see Lampkin back. He was overbearing at best during the trial arc, and he’s even more tediously gothic in “Sine Qua Non,” a nonsense episode of television. I’ll resist the impulse to generalize until next week, by which time I’ll surely be done this.

Literature, etc.

Margaret Atwood: The Handmaid’s Tale (audiobook) — The genius of this, both in terms of the book itself and this audiobook adaptation, doesn’t become entirely clear until very near the end. Spoilers ahoy. In my view, the thing that makes the main body of The Handmaid’s Tale great is its worldbuilding and the beauty of its prose, more so than its story. The story is perfectly fine, and it’s cleverly parsed out in a smattering of recollections of times past among the present-day narrative. But in my head I can’t stop comparing it to later Atwood novels like Oryx and Crake and especially The Blind Assassin which just rocket along with one twist and turn after another, and this is a much less dense book than either of those. But the ending of The Handmaid’s Tale, which takes place at a conference years later, at which the text of the narrative you’ve just read is examined as a factual, in-universe document from a bygone time, kicks what was a good book up to near-masterpiece territory. Hearing a professor jocularly question the veracity of the whole narrative thus far — thereby failing to learn from the lessons of history in the way he explicitly deems necessary — is perverse in the extreme. As much of a narrative rug pull as this surely is in print (I’ve never read the book in its original form), it’s even cleverer in this audio adaptation, where the final chapter makes good on the ad copy’s promise of a “full cast.” These historians unearthed Offred’s narrative in the form of audio, which is precisely what we audiobook listeners have just experienced. The very limited sound design elements at the start of each part of the book are suddenly explained as the sound of Offred taping over what was once a mixtape. The producers of this audiobook managed to turn it into a (very minimalistic) radio play, without really needing to change anything. If you’ve been meaning to finally read this, or re-read it in light of recent events (Atwood’s afterword for this audiobook edition, written this year, details some of her thoughts on the book’s new relevance in the Trump era), you should consider the audiobook. Claire Danes’s reading of Offred’s story will ring in your head long after the credits roll. Pick of the week.

China Miéville: October — This was more of a slog than I’d expected. Miéville is one of the most virtuosic writers alive, but his mandate to tell the story of the Russian Revolution as straightforwardly as he can leaves him hog-tied, with none of his usual structural ingenuity to rely on. His clinical prose never quite gives the impression that we’re talking about a turning point in history, and his fascination with the minutia of party in-fighting causes whole chapters to pass by without much of interest. I understand why Miéville made some of the choices he did. If he’d written in more ornamented prose, he’d run the risk of producing something close to Soviet kitsch. And if he’d chosen to focus on the narratives of individuals, as many nonfiction writers do to lend a human dimension to cataclysmic events, he’d be implicitly denying the grassroots reality of the revolution. The only characters in this who really come alive on the page are Lenin and Kerensky, and I’d still like to have gotten into their heads a little more. It seems to me that Miéville set himself an impossible challenge with this book. I respect him for trying, but I don’t believe he produced the history that he intended to.

Podcasts

Pop Culture Happy Hour: “Emmy Awards 2017” & “Fall Movie Preview” — I missed this year’s Emmys. Doesn’t sound like much happened. The coverage of this makes me realize how much I need to watch Atlanta, which is seemingly the consensus pick for “thing that deserved better.” As for the fall movie preview, I can’t honestly say that any of this sounds especially interesting to me. The nearest movie that I’m super excited for is Isle of Dogs and that’s not out until March.

The Daily: Sept. 18 & 20, 2017 — The September 20th episode, breaking down Trump’s address to the U.N. is actually still worth a listen even this long after the fact. I actually feel regret that I can’t find time for this every day. It is an astonishing undertaking.

Fresh Air: “Hillary Rodham Clinton” — This is worth hearing even (especially?) if you are not fond of her. Terry Gross takes the opportunity to address her previous interview with Clinton, which was taken advantage of by right wing interests to undermine Clinton in the eyes of her base. This event, which predates the heat of the 2016 campaign, now seems like a prophecy.

All Songs Considered: “New Mix” Björk, Neil Young, Burial, Kelela, More” — I am so out of the loop about the year’s new music, and that is mostly because I haven’t been listening to this. Still, new music by Björk is reason to tune in. That’s a funny thing to say, isn’t it? Since I can hear that music in many other places that are also free. But I still like to hear new tracks on this show first, because I know it’ll also introduce me to stuff I wouldn’t have otherwise heard. Neil Young’s Hitchhiker was always something I was going to hear. (I am still technically planning to hear all of his albums in chronological order, but that project has been on a long hiatus because I’m not in the mood.) But having heard this gorgeous acoustic version of “Powderfinger,” which in defiance of Robin Hilton I will happily say is at least in my top three Neil Young songs, I clearly need to hear the album very soon.

The Gist: “The Frat Doesn’t Have Your Back” — As an alumnus of two Canadian universities, I have no idea why American students are so taken in by frats and sororities. This episode about racism in frats only surprised me during the bits where it outlined some of the reasons frats are not terrible.

The Heart: “Bodies: Goddess” — The “Bodies” mini-season concludes with an episode about the poet Maria R. Palacios, whose work deals with her body: she uses a wheelchair as a result of childhood polio. This mini-season has been a solid continuation of The Heart’s best year yet.

99% Invisible: “The Finnish Experiment” — Universal basic income from a design perspective. This is essential listening for anybody curious about how this whole thing might work. The short answer is that nobody knows. But this will tell you about the people who are trying to figure it out who you should be keeping tabs on.

Twenty Thousand Hertz: “Watergate” — It’s been ages since I listened to this show, but the idea of them doing a sound-focussed political story interested me. This is the story of how recording technology in the Nixon White House became so much a part of the scenery that it led to the president’s downfall. Fun stuff.

Longform: Reply All two-parter — These two interviews with the hosts of Reply All are among the most fascinating documents of the world of podcasting that I’ve heard. I’d argue that Reply All, more so than StartUp, is the show that made Gimlet Media an institution. It is an ongoing classic, and a thing that couldn’t really exist if not for podcasting. It is a seamless integration of This American Life-style reported storytelling with the sort of loose chatter that’s native to podcasting. These interviews highlight how both sides of that coin came together. They go into detail on the story development process of the show’s six-person team (I can hardly believe this show is made by only six people) and they also shed light on how Vogt and Goldman’s rapport developed. This is fascinating stuff. Reply All is eminently deserving of a two-hour peek behind the curtain.

Constellations: “adriene lilly – migraines & tsunamis” & “michelle macklem – ode to my last 10 years of dating” — Here is a new podcast dedicated to boundary pushing, sound art-adjacent radio. In other words, it may be the medium’s saviour. Time will tell. Of these first two I’ve heard, “migraines & tsunamis” is the standout. It is a marvellous collage that deals with two very distinct, but oddly analogous kinds of pain. I want more like this from the podcast space. I will be listening to this one closely.

Code Switch: “A Weed Boom, But For Whom?” — A fascinating look into how the oncoming post-legalization weed boom will likely mostly help white people. Also, a fascinating look at the pre-history of the drug war, which predates Nixon by decades.

Reply All: “At World’s End” — A two-story episode focussed on Newgrounds. Remember Newgrounds? What a cesspool. I recall it with fondness.

Theory of Everything: “Concrete and Respect (Wisconsin part I of II)” — This is so great. It’s co-produced by Mathilde, who is the episode announcer on the show, and Benjamen Walker’s wife. (I cannot find a reliable spelling of her last name on the internet, otherwise I’d give it.) The two of them and their young son Arthaud head off to Wisconsin for a family vacation to see some weird art and talk to people who aren’t politically aligned with them. They’re a family with an unorthodox idea of fun. But Mathilde brings a well-read thoughtfulness to this show that’s different from Walker’s trademark informed paranoia. She’s been reading Tocqueville lately, and it deeply influences her take on what she sees. I love this. It’s a great example of what makes this show totally different from anything else out there. Pick of the week.

Imaginary Worlds: “Worldbuilding With Music” — Weird episode. A guy from a band got in touch with Eric Molinsky to suggest an episode on concept albums, which is a great idea. But this focusses mostly on that band, which is yet to release their first EP. And by all indications here, it doesn’t sound that great. I would have loved to hear from Del the Funky Homosapien, Neil Peart, and maybe Tony Visconti, or somebody else who worked with Bowie on Ziggy Stardust. I guess they’re hard to get in touch with. But something like that would have been great.

StartUp: “An Announcement from StartUp and Introducing The Nod” — The announcement that StartUp will be devoted specifically to serialized seasons from here on out is EXTREMELY welcome. Guess I won’t drop this show after all. And the episode of The Nod that they play here is great: it’s a fashion-focussed episode and I still liked it, which means it must be very compelling storytelling. I should listen to this show more often.

Nocturne: “Shortboard” — I feel like I need some new podcasts in my life. This one has been coming up in the New York Times podcast club Facebook group, so I figured I’d give it a go. I’m a fan — though this particular episode could almost be Love and Radio. The premise of the show is just, stories that happen at night. That’s a promising premise, although I generally don’t listen to podcasts at night, so I might have trouble being in the mood for it. Still, always nice to find a new show that’s good.

Showcase from Radiotopia: “Ways of Hearing #6 – NOISE” — This final episode of Ways of Hearing is one of the strongest. It details how digital instruments are noiseless, and how layering them thus loses the noisy richness of analogue recording. It finishes with a slightly forced attempt to link the concepts of signal and noise to every other episode of the show, but prior to that, it’s good stuff. I had high hopes for this series, and it didn’t really even come close. But when it was at its most insightful, it was really good.

Radiolab: “Oliver Sipple” — This is an overall pretty good story about a guy who saved the president’s life and then had all of his privacy and his family taken away from him by the press, who seized on the fact that he was gay. The story has two weak points: one, nobody involved really tries that hard to litigate the central conflict in the story which is whether or not the public actually had a right to know about Sipple’s sexuality. This is the sort of conflict that Radiolab used to thrive on, and it comes and goes in about 30 seconds here. The other problem is that the story starts with original interview tape of the attempted assassin that Sipple stopped. She never reappears. I have no idea why this was necessary for the story, aside from to shock and titillate us with the notion that we’re hearing from that person. There’s some great archival tape in this, though.

On the Media: “Trust Issues” — A really good one. The highlights are a particularly persuasive argument that government deregulation of tech giants has led to us being “governed” by private companies, and another conversation on how a code of ethics might come into effect in Silicon Valley. It also contains a not too confrontational (but confrontational enough) conversation with the guy who runs Gab, the free speech absolutist, conservative dominated social platform. In their now infamous post-election day episode, the hosts of OTM talked about how they’d need to find a new paradigm for the show, the same way they had to when Obama was elected. I think the close examination of social media might be a viable new paradigm for this show. Certainly it’s the only one that seems to understand it at all.

Omnibus (week of Sept. 10, 2017)

Greetings! 19 reviews.

Television

BoJack Horseman: Season 4 — There are four ongoing Netflix original series that I watch. Of those, I am a season behind on two of them: Orange is the New Black and Unbreakable Kimmy Schmidt. When seasons five and three of those series respectively dropped earlier this year, I decided I didn’t have time for them right that moment. But I dropped everything for BoJack Horseman. The last two seasons of this show have both been flawless. Each of them contains one or more episodes that I consider among the best television ever made. New BoJack is a run-don’t-walk cultural event. This season is extraordinary, but it does strike me as the first one to be slightly less enthralling than the last. Seasons two and three were blazingly effective because they presented one new set of circumstances after another for BoJack, gradually making it clear that no set of circumstances is sufficient to repair him. Season four takes a break from throwing new shit at BoJack to instead examine the old shit that got him to this place. It’s a logical move for a show that’s always been fascinated with the convergence of unlikely causes to produce unlikely effects. (Recall that this is the show that ended its last season by throwing all of its B-stories together into a bizarre culmination in which Mr. Peanutbutter saves an aquatic city from a huge mound of spaghetti.) But this new focus on the past also leaves open the question of whether there’s actually anywhere left for BoJack Horseman to go. But let’s look beyond the big-picture narrative stuff. What about the jokes? In that respect this season is at least as strong as any of its predecessors, with its language-based humour at a particular apex. The show’s linguistic pot runneth over to such an extent that one of its best gags gets relegated to a news ticker: “Kathmandu Cat, Man, Doe Man Canoe to Timbuktu.” Anything to do with the assonance-prone Courtney Portnoy is equally marvellous. The outright funniest stuff in the season generally revolves around Mr. Peanutbutter’s extremely ill-advised gubernatorial run, which brings him back into contact with his ex-wives Katrina Peanutbutter and Jessica Biel. (Biel plays herself with hilarious disregard for her real-life personal brand.) BoJack’s best episodes are often its most conceptual, and this season carries that on, with one standout being an episode in which the Peanutbutter residence collapses into the ground, burying a bunch of wealthy showbiz and politics types. Things go Lord of the Flies as quickly as you might expect. The other best episode in the season is as heartbreaking as “Underground” is jokey. As much as BoJack’s character arc decelerates this season, the supporting cast gets some devastating stuff, especially Princess Carolyn. The frame narrative of “Ruthie,” in which PC’s distant descendent in a far-off future tells the story of her esteemed ancestor’s worst day ever, turns out to be one of the most adventurous and saddest things the show has ever done. I dare say it’s more effective than the main tragedy that the show wants us to get invested in this season, which is the life story of Beatrice Horseman, née Sugarman. Previously, we’ve seen Beatrice almost entirely as a monster — a destructive presence in her son’s life. This season doesn’t so much humanize her as show how she’s a product of her circumstances: specifically, the oppressive upper-crust society of post-war America. We see this story play out in two episodes, the more effective of which is the season’s second episode, “The Old Sugarman House,” in which past and present are shown to play out simultaneously through the wonders of animation. It’s an almost theatrical effect: we repeatedly see our present-day cast in the same frame as characters from two generations previously, with only the story to differentiate between the two layers of reality that we’re seeing simultaneously. It’s a canny technique for illustrating the chains of cause and effect that so obsess this show. The show’s penultimate episode, “Time’s Arrow,” doesn’t fare so well. This one seems to be a particular hit with the critics, but I’m not convinced. The decision to show the episode’s events through the lens of the deteriorating mind of the now-senile Beatrice is a good one, but unlike in “Ruthie,” the mode of storytelling entirely outpaces the content of the story, which is rote and predictable in a way that this show usually isn’t. It doesn’t help that the season’s denouement revolves around Hollyhock, the season’s newcomer. Hollyhock is brilliantly performed by Aparna Nancherla, but she is more clearly a plot device than any other character in this show so far. She is the motivating factor for the show’s journey into BoJack’s family past. Given the comparative thinness of her characterization (thinner than the comparatively brief role of Penny, I’d wager), I found the central plot reveal at the season’s end a bit underwhelming. Still, this is only lacking by comparison to the two perfect seasons that precede it. At its most brilliant (“The Old Sugarman House,” “Ruthie,” “Underground” and “Hooray! Todd Episode!” which I somehow didn’t even get to in this wall of text) it is still among the best television being made today. At its least brilliant it’s only excellent. I halfway hope that season five will be the end for BoJack. I want a proper ending for this show, but I never want to see it lose steam. This remains my favourite thing Netflix has ever brought into existence. We’ll see if it maintains the title once Stranger Things season two comes out.

Movies

The Kid — Every so often I get a hankering for silent comedy. I haven’t seen The Kid since my film studies class in the third year of my undergrad. So I figured, why not revisit the Charlie Chaplin movie that I recall being my favourite during that brief period where I watched a ton of Charlie Chaplin movies? The reason I love The Kid is that it demonstrates how even canonized masters like Chaplin can make a very “first movie” kind of first movie. Chaplin had directed some classic shorts prior to this, but The Kid is his first feature. (Though, at under an hour, it barely qualifies by today’s standards.) This is the movie where Chaplin’s aspirations to be not just the greatest comedic entertainer of his generation, but also the new Charles Dickens are most obvious. It tells the story of a single mother who is forced to abandon her child, which unexpectedly ends up in the care of a wily tramp — Chaplin’s famous hatted, moustached character. And while the non-comedic scenes with the mother land with a thud compared to Chaplin’s own plotline, the genuine bond between the tramp and the kid is an undercurrent of genuine drama that fits remarkably well into a film that is also full of Chaplin’s famous physical comedy. I’ve heard Buster Keaton referred to as silent comedy’s resident modernist. His detachment certainly feels less of-its-time than Chaplin’s pathos. Still, for all his Dickensian tendencies, the tramp prefigures modern comedy in a remarkable way. We live in an era of comedy when comedic characters are expected to have the depth and internal consistency to function in dramatic settings as well. (Think of BoJack Horseman for half a dozen examples.) For all of his broad clowning, the tramp is one of the most subtle creations in all of comedy. And I daresay The Kid provides his defining moment: when the child he’s come to love is taken from him, his impulse is to escape his aggressors by taking to the city’s rooftops — a typically counterintuitive, and openly comical, move. But as he traverses the skyline in pursuit of the truck that’s taking his son away, he exudes desperation. It’s one of the most beautiful scenes ever. Take an hour and watch this. It’s ageless.

Rosemary’s Baby — Well, I’m going to see mother! We’ll see how that goes. (Ed. see below for how that went.) In the meantime I figured I should prepare by watching the classic movie that it supposedly draws heavily from. Polanski’s a creep and that has deterred me from really diving into his filmography. But this is a damned good movie. Mia Farrow’s performance is a welcome departure from the screaming hysterics of many classic female horror leads, though that’s partially down to the kind of horror movie this is — a slow-burning psychological one. It’s certainly a step up from Repulsion, the other Polanski apartment building horror movie I’ve seen. That movie’s portrait of sexual repression seems banal by comparison to this movie’s assertion that all of the men in its protagonist’s life actually are conspiring against her. Oh, and also a couple of fabulously batty old women. Ruth Gordon’s performance as the forcefully friendly senior citizen Minnie Castevet is maybe the best part of Rosemary’s Baby. Also, the ending is incredible. For a second I was a bit let down that the ambiguity of the film was washed away by a surge of “Hail Satans,” but that final shot of Mia Farrow rocking the crib of her demon child introduces an entirely new kind of ambiguity that wasn’t there before. Marvellous stuff. I might even swallow my distaste and rewatch Chinatown, now.

mother! — I saw this with my friend Sachi. Her immediate response at the end of the movie is the most appropriate review I can imagine of this, and that was to laugh hysterically for several minutes. Mother! is an aggressively fucked up movie. It begins as an Edward Albee-reminiscent black comedy of manners, and then it descends precipitously into a nightmare scenario so over-the-top that it’s impossible to take seriously. This, I am certain, is by design. From the moment that the exclamation point appears in the title card, mother! is arch and theatrical. Jennifer Lawrence and Javier Bardem give completely committed and sincere performances, but nothing else in the movie is like that. Once Ed Harris and Michelle Pfeiffer show up as a pair of oddly childlike uninvited guests, the movie crosses a Rubicon, and there’s no hope of dealing with it as character drama anymore. Interestingly, director Darren Aronofsky has essentially taken to the internet to explain the movie. A couple key remarks on Reddit have basically confirmed that Bardem = God, Lawrence = Mother Earth, Harris and Pfeiffer = Adam and Eve and the brothers Gleeson = Cain and Abel. I say “interestingly” because this doesn’t seem to me like the sort of thing you’d want to directly point out to your audience. Allegories are bland. They reduce stories that offer a whole world of possibility into one tidy interpretation. Suddenly, the disquieting scene where Bardem comforts a vomiting Harris while ostentatiously hiding a wound in Harris’s side can only represent the creation of Eve, stolen rib and all. Why would Aronofsky want this for his movie? Surely he’d rather see us puzzle through it, arriving at many disparate interpretations, the way we do with Eraserhead — a movie that this one evokes from time to time. I think the answer lies in the movie’s archness — in that anomalous exclamation point in the title. One of our key characters is an artist (the God one, obviously) and every single time the movie addresses his creativity, or the reception of his work, it devolves into clichés. We see him sit bolt upright in bed with inspiration exclaiming “Pen! Pen!” We hear a fan proclaim “I feel like these words were written… for me!” The movie goes out of its way to make God’s work appear ridiculous, and by extension his followers. To me, it seems like the movie is primarily commenting on the slipperiness of interpretation, particularly the sort of interpretation that attempts to reconcile the vastly complex into one internally consistent narrative (If you’ve been following Twin Peaks fandom this year, you’ll be familiar with this.) Mother! comments on the most high-stakes version of that practice: theology, and particularly the dunderheaded literalist sort. Fittingly, it culminates in a huge, gaudy apocalypse, tempting us to read it in dunderheadedly literalist fashion. That’s my take. I mean, I could be wrong. It’s entirely possible that I’ve gone too far down the rabbit hole in my attempts to justify the ways of Aronofsky to man. The real truth is just that I enjoyed the hell out of this movie, and I want it to be more than a banal Biblical allegory. In any case, mother! is completely bonkers crazy and you’ll probably feel a little cracked at the end. Good enough for me. Pick of the week.

Games

Everything — I played this for a frustrating half hour a few weeks ago, but it was only this week when I decided to actually get the settings adjusted so it works on my janky laptop. Once I got that sorted, I found this completely immersive. If you don’t know what this is, it is a game in which there is no specific objective, but which allows you to explore a vast world (many worlds, in fact), while playing as every object in the game, from animals to bacteria to inanimate objects to stars to planetary systems. Its basic contention is a simplistic one, familiar to anybody who’s ever heard a psychedelic rock album: everything is connected, and the whole universe is contained within its each and every component. The game expresses this partway through narration by the philosopher Alan Watts, something of a proto-hippie figure, though he might chafe at that characterization. Still, the actual experience of playing the game mitigates its potential heavy-handedness with a pleasant absurdity. Most of its playable characters aren’t actually animated. Rather, they move around by doing somersaults like a misshapen bicycle wheel tossed down a hill. It’s hard to accuse a game of ponderousness when you’re playing as a wooly mammoth and it’s flipping head over heels through a grove of palm trees. And that’s a conservative example. I spent a fair bit of time playing this as a pair of rubber boots. Because of the game’s mechanics, it is possible and encouraged to make these rubber boots dance around like any living creature would. And as a result of this dancing, they reproduce and make little baby rubber boots. It’s a lovely construction, worth far more than the hour or so I’ve spent on it, and I do hope I make it back to really unravel its secrets. Because it’s also incredibly relaxing, and I need something like that in my life right now.

Music

Sigur Rós: Takk… — I have a theory that Sigur Rós are Coldplay for snobs. Take a good listen to “Hoppípolla.” I don’t necessarily mean that as a dig, though. This is the Sigur Rós album where the memories live, for me. It’s the only one I heard when it first came out, and I listened to “Mílanó” obsessively. It’s a lusher album than either of the ones that precedes it and a more generous one — fitting for an album titled “Thanks.” A beautiful record, and a lovely trip down memory lane.

Movies

Wes Anderson’s short films and commercials — After last week’s marathon of (most of) the features, I figured I may as well be a completist about it. It is not at all jarring to see Anderson’s distinctive style in advertisements. Lavish set decoration and obsessively disciplined framing are advertising standbys anyway. His best ad is the Christmas-themed Darjeeling Limited riff starring Adrien Brody that he made for H&M last year. But that only holds if you don’t count the Prada-financed short Castello Cavalcanti, which is my favourite of his short films. It stars Jason Schwartzman as a racecar driver who fails dismally at his sport (“the steering wheel was screwed on backwards,” he whines) and coincidentally crashes in his ancestral Italian village, among a bunch of distant relations he’s never heard of. There’s a hint of that old story about the Sicilian village that waited in vain for the homecoming of Joe DiMaggio in this. It’s nice. I prefer it to Hotel Chevalier, which is a direct prequel to The Darjeeling Limited, so it’s probably better in context. But that leaves Bottle Rocket, the black and white short that Anderson’s debut feature was based on. It’s a fun artifact, with a slightly different and equally funny take on the scene where Bob won’t stop fooling around with the gun. But most of its scenes also appear in the feature, in substantially refined form. Anyway, this is a fun deep dive, if you’re in the mood for the untapped depths of the Wes Anderson barrel. That sounds pejorative. And I guess it kind of is, because Moonrise Kingdom these are not. But they’re fun.  

Podcasts

Imaginary Worlds: “Technobabble” — Helen Zaltzman sounds slightly half-hearted about this collaboration. But she’s the right person to bring in for a discussion about made-up words.

Mogul: “Behind the Beats” Parts 1 & 2 — Jeez, Mogul’s really taking a victory lap. Still, these episodes are a fun look into the nuts and bolts of making a big, glossy Gimlet show.

Pop Culture Happy Hour: “Outlander,” “People We’re Pulling For” & “The Deuce and What’s Us Happy” — Outlander is clearly not for me, but this conversation about it is goooood fun. Also, I think I’m going to watch The Deuce, but man oh man I bet it’ll be a slog.

Showcase from Radiotopia: “Ways of Seeing #5 – POWER” — This has been a mixed bag of a series for me so far. The first episode, about how digital recording has shaped our perception of time, was ingenious. Much of what has come after is obvious to anybody who’s thought about digital media distribution for any amount of time at all. This episode in particular is about algorithms, and the way that powerful companies hook us into filter bubbles for their own financial gain. This is all correct, but it seems banal when it’s stated outright in a polemical fashion. Because it’s something we all know.

StartUp: “Sex Dot Con” & “Sell the Apartment, Keep the Startup” — The CEO whisperer makes me really uneasy. I feel like this guy is a snake oil salesman who found his mark with Gimlet. Also, the episode about sex.com is kind of unsatisfying.

The Kitchen Sisters Present: “The Galveston Hurricane of 1900: No Tongue Can Tell” — There’s nothing like archival tape. One of these days I’m going to listen to the whole Kitchen Sisters archive, but that is a daunting task. This timely rerun of an episode about the most deadly natural disaster in American history is really moving. It’s nice just to know that somebody captured the voices of people who lived through it.

Radiolab: “Radiolab Presents: Anna in Somalia” — This promo of Rough Translation is a lot more convincing than its marketing campaign, which makes it sound noble and dull. This is the story of men who stayed sane in prison by inventing an alphabet of taps — like Morse code, but not that — and tapping the whole of Anna Karenina on the walls. It’s a remarkable story. Pick of the week.

99% Invisible: “Coal Hogs Work Safe” — This is a story about coal miners who love stickers. Take it or leave it.

Code Switch: “It’s Getting (Dangerously) Hot in Herre”  — This podcast is doing the good work again, with stories that demonstrate why “Mother Nature doesn’t discriminate” isn’t actually true.

On the Media: “Look What You Made Me Do” — Just Brooke Gladstone this week, and it’s a fun one. Particular highlights include segments on the alt right’s appropriation of medieval imagery, and Taylor Swift’s uncertain political allegiances.

The Memory Palace: “Sometimes the Rain Just Doesn’t Stop” — A flood-themed episode for a stormy week. I like that Nate DiMeo does episodes like this, that tie into devastating events, from time to time. Generally, I appreciate The Memory Palace as an escape from the ruthless churn of current events, into the world of historical context. Still, most episodes of The Memory Palace resonate strongly with contemporary discourses, even if they aren’t hooked to contemporary stories. That’s what DiMeo does, even in the episodes that are obviously responses to a specific event. This is in a category with his episode after the Pulse Nightclub shootings. And although it isn’t as beautiful a piece of writing as that, it’s as beautiful a gesture.

Love and Radio: “Seventy Weeks” — An old episode, but one I hadn’t heard before. This is about a pimp’s son who became a preacher who became a pimp who became a life coach. He’s a thorny figure, as are most people who appear on Love and Radio. You get the sense that he has equal potential to bust some harmful myths about prostitution, but also obscure some important and unpleasant truths.