Even Tommy Shelby wants to see more diversity in TV.
Did you know that April 8 is the day in Queer History that all homosexuals were cured? Hahaha, we’re just kidding. It’s actually the day that homosexuality was removed from the DSM.
And speaking of queer folks, here’s an open letter to the TV industry about why we’re so fucking sick of straight white dudes.
In other TV news, Sachin Hingoo bids farewell to Broad City until next season with the hilarious “Jews on a Plane” and Laury Scarbro reveals how all hell breaks loose on Outsiders in the appropriately titled episode, “All Hell.”
May is the month when the long-awaited Season 3 of Peaky Blinders arrives on our TV screens. Did you know David Bowie was a fan of the show? Try to keep your eyes from leaking when you read about what he sent to the show’s lead actor, Cillian Murphy. (Here’s a recent, wonderful, career-spanning interview with Mr. Murphy that includes some lovely photos.)
Everyone is talking about the talking animals in The Jungle Book movie but don’t forget about Jeremy Saulnier’s follow-up to Blue Ruin, called Green Room. Brian Baker took the plunge and reviewed this ultraviolent, ultra-brilliant film. You might forget about Hardcore Henry after you see it, though, as Tyler Hodg remarks in his review.
Meanwhile, on the home video front, Jeffery X Martin tackles the “bad crazy” with Arrow’s reissue of Niko Mastorakis’s The Zero Boys, Sachin has warm fuzzies over the white foam in the Blu of ‘80s schlock horror The Stuff, and Melissa Bratcher is delighted that Bayou Maharajah, the doc about infamous New Orleans piano player James Booker, is finally available for everyone to see.
Bone Tomahawk was my favorite movie of 2015 but I’ve never seen one entry in Charles Band’s bizarrely legendary Puppet Master series, so imagine my surprise (and delight?) to learn that the director behind Bone Tomahawk is helming the Band-less Puppet Master reboot. Modern Horrors has the deets.
Oh, and if you’ve always wanted to delve into actor Sho Kosugi’s career, The ScreamCast can help with their most recent podcast, “A Show on Sho.”
It’s been just over a week and we’re still trying to come to terms with a world without Prince. Here’s a stupendous 2009 article from the L.A. Times about the side of Prince that most people in the public rarely saw. Then, lighten up with this hilarious YouTube video, a compilation of all the times that Prince threw shade.
We have a ton of new music for you to check out this week: Tim Murr raves over the David Lynch aura of Dark Palms’ Hoxbar Ghost Town and insists that Grindmother’s Age Of Destruction is not a novelty album; Melissa calls The Jayhawks’ Paging Mr. Proust “a record for the ages” and marvels at the depth and breadth of Cherry Red’s latest comp, Another Splash of Colour: New Psychedelia in Britain 1980 – 1985; while X comforts us with the fact that at least Rob Zombie is good at coming up with song and album titles.
Could it be that Ke$ha is finally free? Find out about this and the “boycott Beyonce” movement on Unicorn Booty’s latest installment of NOW HEAR THIS!
Since tomorrow is a Monday (groan!), here is something that might make the day go a bit faster: a list of 11 hilarious and slightly political celebrities that you must follow on Twitter.
In Lo and Behold: Reveries of the Connected World, a ten-part essay film that’s as far-reaching and excessive as its title, Werner Herzog explains the Internet as though you’ve never heard of it. If I didn’t know any better, I could actually believe that Herzog never has. He approaches this sprawling, impossible-seeming project with the often childlike point of view of a complete outsider and, one might say, Luddite. This usually manifests itself in a funny way but it also allows Herzog an entry point that’s not bogged down with jargon and which never seems patronizing. In fact, it easily and readily walks the line between wonderment and revulsion.
It is 1980, the morning of May 21. School is almost over for the year. I feel the first erratic twitches of puberty grunting through my adrenal glands. More important than any of that, though, more important than girls or grades or how to get better with either of them, is the fact that May 21 is the official release date of The Empire Strikes Back.
And I am ready.
IDW’s re-release of The X-Files Classics series is about to reach its conclusion, with the final set of collated issues of The X-Files comic book being set to drop in just over a month. The first few volumes revealed a lot about the time in which the comic was made—mid-’90s Todd Macfarlane-esque splash pages abound—but also about the inventiveness and creativity which permeated the greatest seasons of the television show. In addition, the comic featured its own mythology, revealing shady Pentagon connections, crystal helmets, and hinting at the alien powers that Fox Mulder, among others, would wield in later seasons of the television show.
There are also some missteps. It seemed impossible to accurately draw poor Gillian Anderson’s face in 1995, her glorious visage distorted or squashed depending on the panel one happens to view. Much like the TV show, it was likely that the creators were up against real deadlines, turning out the product as quickly as possible to capitalize on the exponential success of the show.
Given that the comic book is, in essence, a microcosm of the show, it seems like we are more than overdue a proper reevaluation of the television show and films.
In a break from my normal oeuvre, a couple of weeks ago I went with my other half to see the “supergroup” (a term I am perhaps exaggerating here) McBusted, formed of McFly and Busted, both of whom enjoyed success in the UK a decade ago. Whilst I knew what I would expect as to the venue (faceless stadium) and the clientele (a mix of tweens and 30-somethings reliving their student days), what really stood out to me was the way in which this concert exemplified the current mass-music scene in the UK.
New this week on Popshifter: Brad reviews yet another Scream Factory reissue, this time it’s The Burning; Jeff finishes up this month’s Waxing Nostalgic Cover Albums series with Replicants’ eponymous album; Paul informs critics that being average is not worse than being bad; John pays tribute to The Olivia Tremor Control’s Bill Doss; I embrace the post-punk transvestite stylings of The Garden on their new album The Life And Times Of A Paperclip; and enjoy a lot of good movies new on home video and in theaters: Trance, Kiss of the Damned, The Last Will and Testament of Rosalind Leigh, and Berberian Sound Studio.
With geek culture becoming more and more prominent, there is a lot of discussion, both online and IRL, about convention etiquette. The topics range from how to act around celebrity guests, to when to take pictures, to how to respond to sexual harassment at conventions. But I’m here to tell you that conventions you aren’t even attending may deserve more respect than you’re giving them.
Because, you see, I don’t care whether you can afford to go to my convention.
I should explain. The convention that I work on gives 100 percent of its proceeds to charity, unlike most fan-based conventions and corporate conventions, which may include philanthropy but which operate mainly as businesses. We may not have world-famous celebrity guests, but food and lodging are included in the ticket price (with varying rates for day trips and one-night stays, of course). And yet, despite our charitable purpose, it feels like we can’t even mention our event in public without someone complaining about how expensive it is.
New this week on Popshifter: Jeff praises The Armoury Show’s “gorgeously slick cathedral Goth with strangely danceable grooves” in the Cherry Red reissue of Waiting For The Floods; Danny calls the new Meat Puppets album, Rat Farm, “the band’s most playful and diverse offering since 1985”; Melissa B. laments the passing of George Jones in her review of the CD reissues of George Jones Country and You’ve Still Got A Place In My Heart; I describe the “geographic grandeur” of the full-length, self-titled debut from Big Black Delta; describe how no-budget, sci-fi flick Manborg “comes from the heart”; explain the “nuanced, complicated” joys of A Royal Affair; congratulate Melvins on their excellent album of covers, Everybody Loves Sausages; and get excited and photo-happy about the upcoming Vicki Berndt art show in Los Angeles.
Whatever I watch on my iPad has better resolution and color than the television I grew up with. Note the number of choices one has by just searching on “television” in the app store.
With Big Data making big news for Netflix, I’m hoping that more Americans ditch cable for streaming television. I’ve received several questions from readers of this column asking why I think streaming services are so much better, and why I advocate throwing over cable completely for Netflix, Hulu, YouTube, and the rest of our new media overlords. There are lots of reasons we should throw away the current model of cable and satellite subscription services.
Here I’ll list my top five; if you really need more reasons than these, you’re either a Comcast employee or use your television as a tool for self inflicted pain.
Inside Llewyn Davis
New this week on Popshifter: Paul takes Men’s Rights Advocates to task in his article on Women in Gaming and tells tales of pro wrestling redemptions; Chelsea loves Lady Lamb the Beekeeper’s first full-length album RiPLEY PINE; I fawn over new releases from Parenthetical Girls, Dawn McCarthy & Bonnie “Prince” Billy, and Iceage, share the latest from Big Black Delta, and review French Horn Rebellion’s newest EP Love Is Dangerous; and Hanna admires both the humor and scientific methods found in The Marriage of True Minds from Matmos.