Billion Dollar Babies is kicking my ass today, this song in particular.
Finally got a ride, this old broad down from Santa Fe
She was a real go-getter
She drawled so sweetly “Think child, that things’ll get better”
We pulled off the highway
Night black as a widow
“Yeah, I read the Bible”
She said, “I wanna know of you”
Hey, I think I got a live one
Hey, I think I found a live one
Hey, I think I got a live one
Yeah, Yeah, think I got a live one
Felt like I was hit by a diesel or a Greyhound bus
She was no babysitter
“Get up now sugar, never thought you’d be a quitter”
I opened the back door, she was greedy
I ran through the desert, she was chasing
No time to get dressed so I was naked
Stranded in Chihuahua
Alone, raped and freezing
Alone, cold and sneezing
Alone, down in Mexico
Maria Alyokhina (above left), a member of Pussy Riot, has managed to escape Russia. She posed as a food carrier to get into Belarus, and then an Icelandic performance artist convinced a European country to issue her a travel document, which got her safely into Lithuania.
Great recap of the entire cloak-and-dagger operation here. After multiple instances of being jailed for proclaiming Russia’s suckitude over the past decade, she got out. The picture of relative incompetence of the authorities that she paints matches the extensive coverage on Renfield’s website.
“I don’t think Russia has a right to exist anymore,” she said. “Even before, there were questions about how it is united, by what values it is united, and where it is going. But now I don’t think that is a question anymore.”
The Icelandic performance artist was not Bjork, but being Icelandic, he is of course related to Bjork.
Nosferatu has abandoned Transylvania for a pressing plant and dresses like Dieter of SNL. He now lives on molten vinyl, not blood. As a result, his hair has turned blue. He’d like you to know that he’s morally superior to other vinyl vampires. He doesn’t suck vinyl from other plants. He started his plant with his own money. He did this in 2017, so he’s cooler too.
He has a point, but so do the bigger, trend-surfing vampires. Why pump money into a medium that will again become unfashionable? The majors are not owned by one wealthy alt-rocker. They are beholden to shareholders who might see a pressing plant as a foolish investment. And there are other media, as most people stream anyway. Maybe he’s right, and the big labels should make room for others by pressing their own copies of Rumours and the latest Adele. Whatever, I just posted because I was amused at the vampire look and the moral posturing. If he wants to make this a moral issue, someone could always one-up him for using a petroleum product.
Here is a non-exhaustive list of things I dislike about movies: certainty, endings, faithful adaptations, characters saying the name of the movie within the course of the movie, diegetic music, explanations, CGI, and the non-casting of Barry Keoghan in a Barry Keoghan-ass role. Here is a non-exhaustive list of things The Green Knight has going for it: the correct casting of Barry Keoghan, ambiguity, an ever-shifting sense of “reality,” mushrooms, unexplained phenomena (what’s up with the big people?), and an anti-ending. So, a perfect movie for 2021.
David Lowery’s movies make me feel like I’m watching a movie for the first time. All the familiar hallmarks are there, but it never settles into anything resembling a predictable pattern.
I don’t enjoy any other filmmaker so abstract or so self-consciously arty, nor could I entirely articulate Lowery’s purpose in any given scene. Words fail, and that’s part of his power. I’m left with an unmistakable feeling: this was a good trip.
The beauty of Green Knight is that it’s so fully realized on every level — score, cinematography, production design, acting — that even when you don’t know entirely what Lowery is on about you can’t look away. It’s almost as if every individual shot has a narrative arc unto itself. It’s so compelling on a micro level that the “big picture” becomes irrelevant. You stop worrying “what does this mean” and “where is this going” and simply savor the moment, like a creature of pure sensual pleasure. Like I said, mushrooms.
As usual, I rely on Wikipedia to fill in the gaps …
Korgoth of Barbaria is a pilot episode for what was originally planned as an American adult animated television series created by Aaron Springer, a storyboard artist, writer and director for Dexter’s Laboratory, The Grim Adventures of Billy & Mandy, Samurai Jack, and SpongeBob SquarePants, who previously created another failed pilot at Cartoon Network Studios called Periwinkle Around the World. He would later go on to produce Billy Dilley’s Super-Duper Subterranean Summer for Disney XD. Genndy Tartakovsky, creator of Dexter’s Laboratory and Samurai Jack, directed the animation for the pilot. This was not the only time he worked on a pilot created by Springer, as Tartakovsky also produced and directed Periwinkle Around the World.
It was first aired in the United States on June 3, 2006, at 12:30 AM (EST) on Adult Swim. On June 18, Adult Swim ran a bumper announcing that Korgoth of Barbaria was officially picked up as a series, because of its critical and commercial success with garnering high ratings. Later events, including a formal petition to revive the show and an Adult Swim bumper announcement mentioning its cancellation, indicate that it was dropped before production began due to high production costs.
Salem’s Lot scared the living shit out of me when it originally aired as a two-part miniseries on CBS (November 17 and November 24, 1979). Please to enjoy this one-hour love letter, filled with scary clips, wise observations, and neato behind-the-scenes trivia.
In this in depth retrospective I tell the story of Tobe Hooper’s 1979 vampire epic “Salem’s Lot”, based on the novel by Stephen King. I delve deep into its development, production and legacy while providing my own thoughts on the miniseries. Starring: David Soul, James Mason, Lance Kerwin, Bonnie Bedelia, Lou Ayers, Ed Flanders and and Reggie Nalder. Written by Paul Monash and produced by Richard Kobritz. Copyright Warner Bros. Television.