Sunday, August 5, 2018
Monday, July 30, 2018
Every year, I look forward to hearing stand up comic Andy Kindler deliver his "State of the Industry" set at Montreal's Just For Laughs comedy festival, wherein he gives a roast-style assessment of what things are like in the world of professional comedy. Thanks to Vulture.com and Soundcloud, you can listen to this year's edition, delivered this past Friday, below.
Saturday, July 28, 2018
Spotted by Twitter's @EuzebTusk, one spooky-looking motherfucker, who writes:
“Am I the only one who caught this? What is it... Godzuzu?! Also, if it's supposed to be an 'ancient' location, then why does it appear to be taking place deep underground?”
Sunday, May 6, 2018
Thursday, April 5, 2018
Sunday, April 1, 2018
Easily the finest moment in American comedy for the year 2017 was the trial of the People of California versus Timothy Richard Heidecker in the matter of 20 cases of second degree murder during the Electric Sun Desert Music Festival. Of course it was midwifed by the mad geniuses of [adult swim].
This is some next level stuff on so many fronts. For an overview of this deep dive/long game semi-improvised comedy project, check out Den of Geek's take. And then, once you've familiarized yourself with the background, enjoy the full trial, right here or on Youtube.
Friday, March 16, 2018
One of the greatest tales of terror ever penned, Charlotte Perkins Gilman's early feminist short story The Yellow Wallpaper is one of the most bone-chilling stories you're likely to read. Why not have it read to you by the lovely folks at HorrorBabble?
Tuesday, March 13, 2018
First published in Satanism-mad Paris, France, in 1891, Joris-Karl Huysmans' La-Bas -- frequently translated into English as Down There or The Damned -- is one of the key texts of the fin-de-sciecle literary movement, and belongs on the reading list of anyone interested in the occult's influence on the arts, and vice versa. It also happens to be a cracking good read, which accounts for its inclusion in self-styled British occult expert Dennis Wheatley's venerable 70's paperback collection, The Library of the Occult.
La Bas was a huge success upon its release, and to this day remains Huysmans' second most popular work, second only to his popular Decadent masterpiece A Rebours (translated into the English as Against Nature), which itself was one of Oscar Wilde's favorite works, and is also extremely entertaining despite (or because of) all its over-the-top darkness and under-the-bottom cynicism.
I was planning on writing a full review to serve as a primer to La Bas, explaining its structure to any interested readers, but the introduction included in the Wheatley Library edition says so much of what I wanted to convey, I may as well just reproduce it here in its entirety:
The majority of British readers will be annoyed by the first chapter of this book and wonder what on earth it is all about; so a word of explanation is necessary.
In France, in the latter part of the last century, intellectuals were crazily absorbed in a bitter controversy between two schools of literary thought – the Romantics and the Realists. The idealistic novels of Victor Hugo were representative of the former: the descriptions of kitchen sinks and prostitution in Emile Zola’s works representative of the latter. People even fought duels on the question; and it is about it that the two characters are arguing.
But be of good cheer, reader. That does not last long. We are soon intrigued by particulars of women being visited nightly by incubuses and priests indulging in sexual perversions. It is, in fact, upon his accounts of Satanism in this book Down There (spiritual Hell) that Joris Karl Huysmans earned his right to a permanent place in the forefront of writers on the occult.
He was born in Paris in 1848, became one of the first Realist writers then, overcome by morbidity, turned to religion and, after becoming a lay-brother of the Benedictines, died in 1907.
The book embodies three inter-related subjects.So there you go. I recommend it heartily, but watch out! Chapter 11 is insanely brutal and disturbing, as Huysmans refuses to let the reader off the hook when it comes to describing in vivid, grisly detail Gilles de Rais' heart-stopping brutalities against the most innocent of victims. This is an "old book" that retains its power to shock.
The author’s preoccupation with Gilles de Rais’s lascivious brutalities begets in him the urge to find out if similar satanic practices are still performed; so he persuades Madame Chantelouve to take him to the house of a notorious renegade priest named Canon Docre. Together they witness there the celebration of a Black Mass, and few finer descriptions of this obscene ritual have ever been written.
- The author, Durtal’s, conversations with his friend Doctor des Hermies – mostly held over evening meals up in the tower of St. Sulpice, where their host, Carhaix, is the bell-ringer.
- The history, written by Durtal, of Joan d’Arc’s protector, Gilles de Rais, which gives a very full account of the hideous manner in which the handsome young Marshal of France slaughtered scores of kidnapped children for his sexual gratification; and :—
- Durtal’s affair with Madame Chantelouve. It would be difficult to find a more realistic piece of writing than this last. The man who, having become disgusted by sex has given it up for several years against his will is attracted to this strange, beautiful woman who enjoys him in her dreams but is reluctant to give herself physically; then, under her cold exterior is discovered to be a raging demon of lust.
One final note, the edition pictured at the top of this post has a gloriously grotesque but still beautiful cover painting by the Belgian Satanic artist Felicien Rops, who has painted some of the more evocative images of surrealist decadence ever committed to canvas.
La Bas has long since passed out of copyright, so all you cheapos out there can download a free online version from this here list, which features copies in every file format you could want.
Monday, January 22, 2018
The final episode of the fourth season of Black Mirror, "Black Museum" is set up to be a sort of counterpoint to the magnificent "White Christmas" special that aired between the second and third seasons (and which is included as part of season three on Netflix). They're both longer than normal episodes, and both feature multiple storylines, with a wraparound narrative that underpins the final of three tales told. Unfortunately, this is a juxtaposition that does "Black Museum" no favors.
Not that it's a bad episode, or even a mediocre one. It's quite good actually, with only a few minor quibbles (about which more later). It's just that "White Christmas" is so fantastic, it's a bad idea to invite comparisons to it unless you're damn sure you've smashed a home run. And while "Black Museum" has a few intriguing ideas and some deeply disturbing moments, a home run, it isn't. For one thing, it's definitely the preachiest episode of the series, and is sorely lacking in the ambiguity that distinguishes the best Black Mirror episodes.
"Black Museum" revolves around an encounter between Nish, a solitary cross-country traveler, and Rolo Haynes, the owner and manager of the Black Museum, a sort of reliquary for technological artifacts of ill repute. As Rolo guides Nish through the exhibits, he regales her with their lurid backstories, about which he happens to have first-hand knowledge.
There are three stories in all, with the first being the best by far. The fact that it was adapted from a short story by Penn Jillette is surprising, but it certainly helps to explain its descent into extreme perversion. The second story, featuring a married couple's doomed attempt to share a single consciousness, feels like a more tongue-in-cheek replay of the second segment from "White Christmas", and is the weakest of the three. The final, wraparound story goes for broke in terms of cruelty, sadism, injustice and revenge, and ends up falling flat.
If Easter egg hunting is your game, then "Black Museum" offers fan service a-plenty, with callbacks to at least half (and probably more) of Black Mirror's 19 episodes. Aside from that, I'd place this episode squarely in the middle of season four, quality-wise, and it leaves me worried that Brooker and company might be running out of ideas.
Don't get me wrong! I'm still holding out hope for future seasons. But, perhaps an infusion of fresh blood in the form of new writers is called for?
In the penultimate episode of the fourth season of Black Mirror, three survivors of an unidentified near future civilizational collapse are scavenging for items to help ease a dying friend's suffering, when they accidentally activate a terrifying, unstoppable, four-legged security drone that is equally adept at problem-solving and improvising as it is at committing brutal, cold-blooded murder.
"Metalhead", the first Black Mirror episode to be shot entirely in black and white, is also the closest the series has come so far to producing an all-out horror movie, with season three's "Playtest" being the only other episode to come close. The episode's genre bona-fides are bolstered by the decision to make extensive use of needle-drops from Penderecki--instantly recognizable from Stanley Kubrick's The Shining--in the score.
Maxine Peake is excellent as Bella, the only character to survive the initial heist-gone-bad, but the real star here is the drone, or "Dog", which ruthlessly hunts Bella down after making short work of her partners, Clarke and Anthony. Its appearance and movements are partially based on robots designed by Boston Dynamics, online videos of which gave Brooker the idea for this episode in the first place.
While the real-world robots in the above video have a certain goofy charm, there's nothing cute about the Dogs in "Metalhead", which seem to have escaped from the deepest, darkest canyon at the bottom of the Uncanny Valley. Imagine if a mad scientist crossed a pit-bull with a giant hissing cockroach, then gave it a 9mm revolver, heat vision, a GPS tracking system, a functional IQ of 200+, no morals, and every tool it needs to interface effectively with every current real world technology, and you begin to get a sense of what poor Bella is up against.
I've seen some reviewers complain about the lack of backstory in "Metalhead"; how we're given no clues as to what happened to make the world such a mess. Personally, I think this works in the episode's favor. Somewhat similarly to "White Bear" from season two, "Metalhead" is more experiential than it is speculative. It takes you for a ride... and what a wild ride it is.
In keeping with its formal approach and minimalist tone, "Metalhead" is also the shortest episode of the entire series, coming in at a tight 38 minutes. Taut and trim, there isn't an ounce of flab on this feral, unforgiving episode, which for me is one of the best of the season, second only to "ArkAngel".
Sunday, January 21, 2018
Here's how I think Charlie Brooker came up with the idea for the fourth episode in his Black Mirror anthology series: "Hang the DJ".
One night, he takes his wife out to see Yorgos Lanthimos' The Lobster, and they both enjoy it immensely. Afterward, Brooker starts wondering whether he can tell a similar story, about the ways in which we human beings struggle in our quest to find and be with the best possible life-mate, for his Black Mirror audience. Yes, this is fertile ground indeed, he thinks. But then, he wonders how he might be able to distinguish his story from Lanthimos' film, which has developed a substantial cult of admirers since its release (a cult that includes your humble blogger)? And that's when he hits upon the idea of making his story the fourth season's "San Junipero"... the "feel good" story of the season, in other words.
And that's how "Hang the DJ" was conceived! Or, at least, it might be. I don't know; I'm just guessing here. What I do know, however, is that "Hang the DJ", which has nothing to do with executions or radio presenters, definitely is this season's most light-hearted, uplifting offering.
Amy and Joe are an instantly likable, fashionably interracial couple who are both experiencing their first preordained relationship in The System, which appears to be an extremely thorough and exacting program designed to pair people off with their best possible romantic partner. This all takes place within the confines of a village of lakeside chalets surrounded by an inordinately tall barrier wall that keeps the outside world at bay while participants get to know each other in every sense, including the Biblical. While taking part in The System, participants have access to Coach, a sort of personalized Smart Phone that helps guide them through the process.
Seeing as they are both each other's first coupling, and their time together so short, Amy and Joe decide to forgo sex, a decision they both jokingly confess to regretting in their final moments together. After they depart, both cycle through a variety of relationships of varying duration, including some that go on for months. All the while, Amy and Joe keep bumping into each other at public events, and it's obvious they would both very much like a second chance at being paired up.
Of course, when this wished-for second chance comes to pass, one of them succumbs to temptation and accidentally breaks a rule they didn't even know existed, thereby giving this season its most human, relatable, emotionally resonant moment.
Beautifully acted and handsomely mounted, "Hang the DJ" is that rarest of things: A Black Mirror episode that is also makes for a perfect "Neflix and chill" date-night watch.
Friday, January 19, 2018
Monday, January 15, 2018
This review of up and coming Brazilian artist/writer Rafael Grampá's stand-alone book for Dark Horse, entitled Mesmo Delivery, is going to be short and sweet.
Short, because there's not much to say. The proof really is in the pudding with this book, which features a pared down, bare bones story about a couple of mysterious truck drivers--one big and burly, the other small and wiry--hauling a mysterious load across a desolate American industrial hellscape. The big one needs to take a leak, so they pull in to a truck stop, where trouble and highly stylized fisticuffs ensue.
Sweet, because every square inch of this book, from front cover to back, is simply gorgeous... like inky fireworks trapped on paper for our eyeballs' titillation. It's also very funny, both narratively and visually. Fans of martial arts movies, underground comix, and subtle Apocalyptic imagery will find a feast, here. Me, being all three, I love this damn book to pieces.
If you aren't already familiar with the incredibly ambitious underground-crossover comix phenomenon that is Benjamin Mara, I can think of no better place to start learning about his work than via this collection, which shows off the impressive range of styles that Mara has deployed for the books put out on his Traditional Comics imprint.
Before you ask, yes, the entire book is reproduced in mimeograph style purple ink, as in the above example. You get used to it, trust me.
From the hilariously over-the-top (some might say "problematic") blaxploitation satires "Gangsta Rap Posse" and "Lincoln Washington" (the latter about a freed slave wreaking furiously violent revenge on some racist crackers in the Restoration era), to the more refined and visually sleek "Adventures of Maureen Dowd", which casts the New York Times' resident redheaded Op Ed cutie as a Bond Girl type taking on Karl Rove and Dick Cheney with both words and weapons, to the ugly-in-every-conceivable-way "Ripper and Friends", a series of scatological and hyperviolent 'funny animal' strips, before finally finishing off with a trio of certifiably insane High Fantasy strips--"Zorion: The Sword Lord", "The Naked Heroes", and "Blades & Lazers"--that somehow manage to work both as over-the-top parodies, and exemplary specimens, of the genres Mara is ostensibly satirizing.
|It's purple in the collection version|
The deeper you consider his deceptively simple drawings, the more you're able to detect echoes of Kirby, Ditko, Buscema, Moebius, Steranko and more. And yet, there is nothing about Mara's work that is derivative. Also, besides being a unique and prolific creator in his own right, he's also doing yeoman's work of bringing some attention to unjustly ignored comics industry veterans and re-invigorating their careers. So he's a mensch, too!
Fantagraphics' promo page does a good job of explaining Mara's primal appeal:
Born from the crucible of 1980s trash culture and exploitation entertainment and focused like a laser through the prism of Marra’s brain comes this nasty brew of revenge, power, and passion. It is a reflection of the things that America celebrates and for which it is scorned, and often blurs the lines between the two.
A true original, Benjamin Mara is one of the most important new artists working in comics today. Pick up this beautiful, reasonably priced collection to find out why.