It’s Back

As of October 4, we have five new episodes of Genndy Tartakovsky’s (Dexter’s Laboratory, Samurai Jack, Star Wars: Clone Wars) Primal. On HBO Max.

Also, fuck Monday.

Subverting Expectations Is Tight

Thanks for the heads-up on this guy, Monkeystador. Couldn’t have said it better myself.

Game of Thrones is one of the most popular TV dramas of all time, and fans were pumped to see what the creators had in store for its final season. However after a few episodes, GoT fans started to have some questions about the way D.B. Weiss and David Benioff were wrapping up their favorite show. Like what’s up with Daenerys becoming pure evil so quickly? Why isn’t anyone talking about Jon being the rightful heir to the throne? Was that really the end of the Night King? Are scorpions more powerful, or are dragons?

To answer all these questions and more, step inside the pitch meeting that led to Game of Thrones Season 8! It’s super easy, barely an inconvenience!

FRIDAY BONUS:

Every Marvel pitch meeting in order of MCU Timeline, because you aren’t actually going to work today, are you?

Fuck Fuckity Fuck Yeah

BRING IT.

The new season of The Mandalorian starts streaming Friday, October 30, only on Disney+.

The Mandalorian and the Child continue their journey, facing enemies and rallying allies as they make their way through a dangerous galaxy in the tumultuous era after the collapse of the Galactic Empire. “The Mandalorian” stars Pedro Pascal, Gina Carano, Carl Weathers and Giancarlo Esposito. Directors for the new season include Jon Favreau, Dave Filoni, Bryce Dallas Howard, Rick Famuyiwa, Carl Weathers, Peyton Reed and Robert Rodriguez. Showrunner Jon Favreau serves as executive producer along with Dave Filoni, Kathleen Kennedy and Colin Wilson, with Karen Gilchrist serving as co-executive producer.

A Song About Wanting To Be Wherever You’re Not

Just now easing into Phoebe Bridgers’ new one, which came out in June. She’s the real deal. Sorry (not sorry) for all the lyrics lately.

Day off in Kyoto
Got bored at the temple
Looked around at the 7-Eleven
The band took the speed train
Went to the arcade
I wanted to go, but I didn’t
You called me from a payphone
They still got payphones
It cost a dollar a minute
To tell me you’re getting sober
And you wrote me a letter
But I don’t have to read it

I’m gonna kill you
If you don’t beat me to it
Dreaming through Tokyo skies
I wanted to see the world
Then I flew over the ocean
And I changed my mind

Sunset’s been a freak show
On the weekend, so
I’ve been driving out to the suburbs
To park at the Goodwill
And stare at the chem trails
With my little brother
He said you called on his birthday
You were off by like ten days
But you get a few points for tryin’
Remember getting the truck fixed
When you let us drive it
Twenty-five felt like flying

I don’t forgive you
But please don’t hold me to it
Born under Scorpio skies
I wanted to see the world
Through your eyes until it happened
Then I changed my mind

Guess I lied
I’m a liar
Who lies
‘Cause I’m a liar

It’s A Team Effort

Just started reading No Country for Old Men last night, and somehow stumbled onto this video while eating breakfast. It’s a script-to-screen comparison of THAT scene. Brilliantly written, adapted, directed, acted, costumed, lit, shot, edited. It all has to be there for it to work this effectively.

Best YouTube comment regarding Chigurh’s motivation for the coin toss …

I think he would be fine with it either way. The way he sees it, it’s just. The coin makes the decision not him. If the coin says heads then he should be pitied, a worthless peasant able to finish out his life. If its tails, he should be despised for his weakness, a waste, and removed from the earth. Chigurh understands this, that he is both, and the coin simply dictates the action to be taken. So it doesn’t matter either way. There’s always a reason to kill him and there’s always a reason to spare him. So the coin will sort it out.

Happy Happy Joy Joy

Coming August 14, a documentary about the creation and influence of Ren & Stimpy! SPOILER ALERT: Here’s another one of those instances where you must appreciate the art but hate the artist. From Gizmodo

Directors Ron Cicero and Kimo Easterwood promise an honest and direct look at what Kricfalusi brought to the world of animation as well as what he took away from it, with reports of failing to deliver episodes on time and fostering a hostile work environment. According to the documentary description, it will also address the allegations of sexual misconduct. They were first brought to light in 2018 by Buzzfeed, and included an admission that Kricfalusi had engaged in a relationship with a 16-year-old girl. It’s clear from the trailer that the folks who worked on Ren & Stimpy have great respect for the show and how it’s influenced the world of animation, but that it’s hard to rectify that with the knowledge that the person who created it was responsible for so much pain and suffering.

This Game Is Crazy Good

The Last of Us Part 2. Just finished it a couple of days ago, and man, it was worth the wait.

The song at the end is Pearl Jam’s “Future Days.” I’m guessing Eddie Vedder is a Bloater by this point in the game’s timeline …

Paul Collins Was In The Nerves

It’s true.

The Nerves lasted a short time and self-released one self-titled four-song EP in 1976, featuring the songs “Hanging on the Telephone” (Lee), “When You Find Out” (Case), “Give Me Some Time” (Lee), and “Working Too Hard” (Collins). In addition to being the drummer, Paul Collins was also the trio’s manager and did most of the bookings and promotion. The Nerves’ EP was distributed by independent Bomp! Records and officially re-released on CD and vinyl by Alive Records in 2008, followed by a second release of The Breakaways, an album of post-Nerves recordings made by Collins and Case prior to the formation of Collins’ group The Beat.

Despite their limited lifespan and discography, The Nerves remain notable for many reasons. They were the founding vanguard of the Los Angeles punk and pop scenes that eventually produced The Knack, The Beat and The Plimsouls. After The Nerves’ break-up, Case and Collins formed The Breakaways with Pat Stengl, a group that would have an even shorter lifespan than The Nerves. Thereafter, however, Case and Collins went on to front more notable groups, The Plimsouls (who had a Billboard Top 100 hit with “A Million Miles Away”) and The Beat, respectively. But perhaps the most notable legacy of the group is the song “Hanging on the Telephone”: Blondie later covered the song on their album Parallel Lines and turned it into a UK top 5 hit, and thanks to Blondie’s success, the song has become something of a standard, later re-done by groups as diverse as L7, Def Leppard, Cat Power (whose version was featured in Cingular commercials in 2006), and Hep Alien, Lane Kim’s fictional band on dramedy The Gilmore Girls. While it is likely some of these artists are unaware of the original Nerves version, others were also from Los Angeles and what was, at the time, its small underground music scene and would be able to reference the original. Blondie included a second Lee composition on Parallel Lines, “Will Anything Happen?” Lee also went on to write a hit for Paul Young, “Come Back and Stay”.

“Hanging on the Telephone” and “When You Find Out” were later released on a 1993 Rhino Records power-pop compilation, DIY: Come Out and Play – American Power Pop I (1975-1978), which Allmusic gave a five star review. The Nerves also appeared on the album’s cover. More recently, Rhino included an unreleased Nerves track, Case’s “One-Way Ticket”, on the 2005 compilation Children of Nuggets: Original Artyfacts from the Second Psychedelic Era, 1976–1995,[3] a sequel to their Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968 compilations.

In 2008, Alive Records released One Way Ticket, a CD compilation of the remastered tracks of the Nerves’ original EP, along with demos and other previously unreleased material. Following the success of The Nerves’ CD reissue, Alive Records released The Breakaways, an album of post-Nerves recordings featuring Collins and Case prior to the formation of The Beat.

In 2011, the American rock band Green Day launched the American Idiot Broadway Musical Production. On any night that an original cast member left the show, they included a live rendition of the song “Walking Out On Love,” which was written by Paul Collins. The song was previously recorded by The Nerves, The Breakaways and The Beat. At the end of the musical’s run, The Paul Collins Beat joined Green Day on-stage for live performances in New York.