Chris Hardwick's Blog, page 2372
July 22, 2016
OUTCAST’s “The Damage Done” Brought Past Pain Into the Open
This week’s Outcast, “The Damage Done,” was the first episode that didn’t specifically feature a demonic possession (even the flashback was short). It instead focused on a different type of possession, the one the past can hold over us.
Megan tried to buy her husband and her family out of trouble by paying off her childhood rapist Donny, but rather than get him to go away without filing charges, it was the impetus for him to pursue them. It wasn’t enough for him to come back and make Megan re-experience the pain of her childhood by trying to get her to accept a false sense of responsibility for his actions, he needs to ruin her financially and send her husband to jail. Remember, he isn’t possessed by the devil, but he is still evil. Cruelty and wickedness are not only the purview of the supernatural, which makes Donny feel even worse than the demons that make Rome, West Virginia so scary.
As a result, Megan realized she will never really be free of Donny, short of finally using the gun that feels as though it will be fired sooner than later. Of course, as Mark pointed out, Megan has been carrying the pain from Donny’s assaults all these years in a way that won’t let her try to overcome it (if she even can), in that kitchen scene that displayed just how great Wrenn Schmidt has been in the role of Megan.
The real question now is how much past damage will result in new damage. It happened to Reverend Anderson, where very literal damage via his new chest tattoo, combined with the anniversary of a terrible tragedy in town, led to him exploding in a fit of madness. At least that’s how it appeared to the townsfolk.
Kyle was right — even though he and the Reverend are fighting something very real and terrible, they need to be smart about how they go about doing this work. It’s just that the Reverend’s failures until this point, and the damage that failure has caused, makes it so he can’t see the pragmatic reasons for working in more anonymity. He might end up being the side of good’s worst enemy if he can’t forget the past.
Anonymity is what had prevented Allison from facing the truth about her past, but by finally learning that it was her, and not her husband, that had attacked their daughter, she too had to face the truth, and it led to–what can only be a mistake going forward–her leaving Amber with Kyle.
So this episode wasn’t about the pain from the past, it was about how you respond and deal with it today. Only Kyle, the person who somehow is connected to all of this damage, seemed equipped to handle it. I don’t know if that’s a good thing or bad thing for everyone going forward, but it feels like there is a lot more damage to come, even from those that aren’t possessed by demons.
Now just a couple of last thoughts before we slink back into the shadows like a black goo hell spawn…
— I was just as stunned as you guys to learn that Ogden wasn’t possessed. I figured both he and his wife were suffering from it equally. It will be interesting to see how much of her possession is responsible for his unsavory actions, of which there are now even more questions.
— That scene in the barbershop between Sidney and Anderson is one of my favorites. Hopefully Brent Spiner and Philip Glenister have many more scenes together, though with less human skin inscriptions.
— Is it possible Ogden is possessed, but is so evil he can overcome touching Kyle? I don’t think so, but definitely worth keeping an eye out for the rest of the way.
What did you think of this week’s episode? Talk about it with us in the comments below.
Images: Cinemax
Die Antwoord Announces New Album and Shares a Track
A couple months ago, the ever-bizarre South African rap duo Die Antwoord released a mixtape titled SUCK ON THIS, which we decided was at the very least a fun advertisement for their upcoming full-length record, We Have Candy. Now, there’s more news about the group’s fourth studio album: It’s now called Mount Ninji and Da Nice Time Kid, and it’s coming out on September 16 (via Entertainment Weekly).
If the changing album titles weren’t enough of an indication, the duo has stated on Instagram that the release has taken on many forms since work on it began “around 2 years ago.” Apparently, it was once titled RATS RULE, and at that point, “the mood of the tracks we started banging out was rough and tough and mischievous and wild and hard and dark.”
A photo posted by Die Antwoord (@dieantwoord) on Jul 22, 2016 at 5:00am PDT
At another point, the album became We Have Candy, but naturally, the album changed tone again, and became “so epic and sometimes vulnerable and sometimes sweet and romantic and so brave and full of mystery and win, like when you going through hell, and the mission feels impossible, but you not allowed to fail, and all you can do is keep your chin up and keep going, then when you least expect it you emerge from this dark never-ending hole, and… you made it!”
And that’s how we’ve come to Mount Ninji and Da Nice Time Kid, which features guest appearances from Jack Black, with whom Die Antwoord has worked in the past. It’s available for pre-order here. Along with the album announcement also came an electro-influenced new single titled “Banana Brain,” which you can check out below.
Featured Image: @dieantwoord/Instagram
Maltin on Movies #87: Clare Kramer
This week Leonard and Jessie welcome fan favorite Clare Kramer, best known for her roles in Buffy The Vampire Slayer and Bring It On. She’s used that notoriety to become an entrepreneur as the cofounder of Geek Nation. She shares stories about her career and recommends some films you may have missed.
Follow @LeonardMaltin on Twitter!
THE 100 Plot Details and More Revealed at SDCC
With San Diego Comic-Con in full swing, we’ve been receiving a ton of updates on films, comic book series, and television shows. That last category includes one of our favorites: The 100. After the jaw-dropping season three finale, we’ve (as I’m sure you’ve) been anticipating news on the upcoming season. While we don’t know too much about what’s on the way, we did get a sneak peek of a potential scene, and a tease of what’s to come during the show’s SDCC panel. It was also revealed that Zach McGowan, who joined the show last season to play Roan, would be a series regular in season four.
“The Earth strikes back in season four—it is an unbeatable foe,” creator Jason Rothenberg teased regarding next season. “It quickly becomes about not how to stop it, because stopping it is not possible, but about: How do we survive? There aren’t enough lifeboats, so who gets to choose who lives?”
With total nuclear destruction on the way, getting her people to safety is something Clarke (Eliza Taylor) will have to deal with. In the exclusive clip shown off during the panel, we hear Clarke’s ominous narration: “Our enemy isn’t something that can be fought. It can’t be reasoned with. It can’t be killed. When all is lost, can hope survive? can we survive? After everything we’ve done, do we deserve to?”
After losing major characters like Lexa, Lincoln, and Pike last season, facing the impending apocalypse will be difficult for everyone. Octavia, for instance, will be traveling down a much darker road, channeling her inner assassin. She explained, “Octavia will take a really dark turn. She’s going to do what she does best, which is killing people. She really found her home within herself in becoming a warrior, and that’s thanks to Lincoln and Indra.”
The big news, however, was that Zach McGowan (Roan) has been bumped up to series regular. As a result, fans should expect the character to play an even bigger role this season. Also, Rothenberg revealed that Adina Porter (Indra) will be returning for several episodes.
The 100 is set to return next year on the CW.
Are you excited for next season? What did you think of the finale? Let us know in the comments below, join the conversation on Twitter, or start one with me on Twitter: @Samantha_Sofka.
Featured Image: The CW
GHOST RIDER is Coming to AGENTS OF SHIELD
It turns out all those Hellfire Chains printed on the sides of trains and buses wasn’t a misdirect after all. Marvel revealed just now, partially on the show floor of SDCC, that Ghost Rider is coming to Agents of S.H.E.I.L.D. Now, if you have not been keeping up with the current Marvel comic book Universe, this Spirit of Vengeance might look a little different to you. For starters, he drives a car, not a motorcycle.
Just revealed at the #MarvelSDCC booth: Ghost Rider’s wheels, coming this fall to #AgentsOfSHIELD!
Long Lost Beatles Recording Discovered in Paper Envelope
Have you ever dug through your attic and discovered an unreleased Beatles recording? Yeah, us neither, but someone else just did. A 52-year-old recording the group recorded has surfaced and it was hidden in a brown paper envelope this whole time. But wait, there’s good new music news, too. David Bowie has an unreleased album coming out soon, Phantogram shared an awesome video for their newest single, Screaming Females dropped a punk rock anthem, and Chairlift release a sugary song that will kick off a stellar weekend.
Keep a tidy room. If you don’t, you never know what you might lose. The family of singer Cilla Black recently found a long lost demo recording from The Beatles. The 7″ vinyl of “It’s For You” sung by Paul McCartney is the only known version to exist. He and John Lennon wrote the song for Black, a close friend at the time, back in 1964. In the process of writing it, McCartney sent a demo of the song to her so she could see how it was taking shape. Everyone though it was lost, but it turns out it was hiding in their house in a brown paper envelope. Naturally, this will bring in the big bucks at auction, but it has yet to go up for sale. Check out the original version above and cross your fingers that the person who purchases this uploads a rip of the audio. [Consequence of Sound]
David Bowie isn’t done yet. Last year, he released the 12xCD box set Five Years 1969-1973 and now the next edition of that series is ready. Who Can I Be Now? (1974 – 1976) comes out via Parlophone soon, though there isn’t a specific release date. It includes an album Bowie never released called The Gouster as well as liner notes. It’s safe to say this one will be worth grabbing, that is before they all sell out immediately. We will update you when we know about the record’s official release date. [Pitchfork]
Last month, Phantogram shared news that they have a new record on the way. Three comes out on September 16 via Republic Records, but we got an early taste of what’s to come with “You Don’t Get Me High Anymore.” The banger now has a video that packs an even bigger punch than the already catchy single. In the clip, the duo seeks out thrills in Salton Sea, California. There’s dramatic visuals, catching liquids, and plenty of ferocious clothing. Check it out above to see what we mean. [Consequence of Sound]
The glory of punk is alive and well. Screaming Females have a tour-only version of last year’s Rose Mountain album on the way. The new version includes several unreleased tracks as bonus material. One of those B-sides is “Skeleton,” a track burning with ferocious guitar riffs and snarky words. It’s exactly what you need to tear through any work separating you from the weekend. Listen to it above and get your angst out. [Consequence of Sound]
Earlier this year, Chairlift released a swift, smooth album called Moth that we’re still spinning. It looks like the electro-pop duo are back, this time with an unreleased single from those same recording sessions. It’s called “Get Real.” Though less sassy than that phrase, the single wins you over with slick production and those wonderful liquid vocals. Give it a spin above. [Pitchfork]
Enjoy the weekend! We’ll see you back here on Monday for another Music Dispatch!
Image: The Beatles/Apple Records
The AMERICAN GODS Trailer is Absolutely Divine
Today’s your lucky day, Neil Gaiman fans—and it’s not even Wednesday. Because San Diego Comic-Con is nothing if not an embarrassment of riches, Starz released a brand-new trailer for Bryan Fuller‘s televised adaptation of Neil Gaiman‘s epic novel, American Gods. And—ooooooh weeee—is it somehow better than we even anticipated.
Take a look at the Comic-Con trailer below:
In it we get a look at the small screen version of the story’s vastly expanded narrative. As Gaiman mentioned during our Conival interview, the characters that imbue Shadow Moon’s (Ricky Whittle) bizarre new world are getting seriously upgraded, with more backstory and involvement in the war between the old gods and the new.
What we don’t get? A premiere date or a look at Kristin Chenoweth, who joined the cast at their SDCC panel on Friday where it was revealed that she will play Easter. It’s a bit of a reunion of sorts for Chenoweth and Fuller, who worked together on Pushing Daisies. For those not in the know, Easter was once known as Ostara, goddess of spring, and plays a major role in some of the novel’s most climactic moments. Considering that the gods need adoration and worship (of a sort), Easter has come to embrace the jelly beans and chocolate bunnies associated with the holiday that bears her name in an effort to stay relevant (and, in some ways, alive).
Needless to say, we cannot WAIT for more details and looks at American Gods. And we can’t wait for you all to see footage from our interview with the cast—so keep it locked right here to Nerdist for all the latest.
Images: Starz
Alicia Lutes is the Managing Editor of Nerdist and creator/co-host of Fangirling. Find her on Twitter if you’re into that sorta thing!
Artist Imagines The Missing Links In POKÉMON Evolutions
In nature, evolution is a slow, gradual process that takes a long, long time, if that Charles Darwin fella is to be believed. In Pokémon, however, it usually looks something like this:
Or this:
A bright white light overtakes the Pokémon to obscure the process, so we can’t see what’s actually going on. But what would Pokémon evolution look like if it was more gradual, and we could observe it as it happens?
Technically, the process is called evolution, but it really resembles growth instead of a change to the species: It’s more like a human child growing up to be a human adult than it is like early primates adapting over the years to become modern homo sapiens. The latter is what the tumblr blog In-Progress Pokémon imagines in its artistic renderings of what a more observable Pokémon evolution process would look like (via Dorkly).
The drawings envision how Pokémon evolution would be if there was one more phase between each already-existing stage—three-stage evolutions become five-stage, two-stage becomes three-stage. The drawings use Nintendo’s original art for the existing Pokémon, and the new evolutions are drawn in a consistent style. For example, here’s how the Dratini evolutionary line played out:
Here’s Exeggcute’s very plant-like development into Exeggutor:
And here are the Generation 1 starters—Bulbasaur, Charmander, and Squirtle:
And that’s what it would look like if Pokémon went through puberty. There are a lot more imagined evolutions at In-Progress Pokémon, so check it out and let us know which ones are your favorite.
Images: In-Progress Pokémon
SPIRITED AWAY’s Pigs Were More Political Than You Thought
You shouldn’t need me to tell you that Hayao Miyazaki‘s Spirited Away is one of the very best movies of the 21st century, animated or otherwise; as a children’s fantasy for all ages, it recalls classics of kid-lit like Alice in Wonderland and The Phantom Tollbooth. What you may not have known if you’re not Japanese, however, is some of the subtext to the magical world. Miyazaki’s not quite a stranger to inserting politics into his worlds–Howl’s Moving Castle is a solidly anti-war statement, while The Wind Rises, depending who you ask, is either highly critical of Japan’s military, or not critical enough.
But where are the politics in the tale of a child who comes to a magic bath house after her parents are transformed into pigs? You might never have asked, but via Twitter, one fan did, as reported by Bored Panda. And while you might not expect requests for explanations of cinematic subtext to be responded to–we’d be sending daily correspondence to David Lynch if there were even the remotest hope of an answer–the folks at Studio Ghibli actually wrote a letter in response. Basically, the parents turning into pigs is a representation of the greediness Miyazaki saw during the Japanese recession of the ’80s. And main character Chihiro rises above that “by developing a heightened understanding and appreciation of life.”
You can still enjoy the movie without knowing that, of course, but pardon us while we start composing a lengthy inquiry about what the Radish Spirit and the soot creatures represent, with regards to Japanese economic theory. Hey, now that we know answers are possible, why not?
What film’s subtext would you like the studio to explain? I’ll start: Mulholland Drive. Add yours in comments below.
Featured image: Studio Ghibli/Disney
July 21, 2016
Audio Rewind: The Enduring Legacy of Marvin Gaye’s WHATS GOING ON
Last week we got word that What’s Going On, one of the most enduring albums of all time, would be getting a well-deserved documentary. The album, in the words of the film’s producers, “challenged America and the world to self-reflect, going on to inspire a generation of artists and music lovers.” In light of this news, This week’s Audio Rewind will focus on the seminal elements that make Marvin Gaye’s masterpiece so resonant—as it remains today. Perhaps the film can challenge America once again and remind us that we should spend more time self-reflecting and asking, “What’s going on?”
In 1970, the What’s Going On project began as a single track, that titular song that has become emblematic of Gaye’s legacy. The first version of “What’s Going On” was written by the Four Tops’ Renaldo “Obie” Benson. The rest of the Tops rejected the piece and gave it to Gaye, who modified the track before taking it to Motown boss Berry Gordy. The magnate hated it, immediately refusing to release a “protest song” on the Motown label. Using Motown backchannels, Gaye was able to release it as a single behind Gordy’s back. “What’s Going On” promptly sold 200,000 copies in a week, which, of course, left Gordy singing a different tune. He visited Gaye to grant him permission to turn the song into a record, and, more or less, carte blanche over all of its production.
The rest is history, but the most iconic musical moment from What’s Going On remains on the first track. Gaye had recorded two separate vocal takes; when he asked to have them played back so he could choose one, the sound engineers accidentally mixed them together. Gaye loved the synergy of the separate parts, and so it was that “What’s Going On” was multi-tracked with two unintentionally complementary vocal melodies—both Gaye’s voice. The decision remains a landmark moment for multi-tracking possibilities and creative production of all kinds.
That decision is indicative of Gaye’s open-minded approach to the album. He turned the record into an unconventional nine-track song cycle, for example. And he tapped dozens of contributors to play a multitude of instruments in an exceptionally collaborative project. There are groovy bass lines, sax solos, lush string arrangements, harps, flutes, oboes, vibraphones…and through it all Gaye’s dulcet vocal remains always at the fore. It’s a master class in production, and a paragon of Gaye’s jazz-infused, soulful R&B. It’s a sound and a practice that were revisited in the ‘90s Neo Soul movement by people like D’Angelo, Erykah Badu, and Lauryn Hill. And variations of Gaye’s manifold sound and production style continue to evolve today, informing hip-hop, electronic music, and other collaborative projects with roots in soul and jazz (the experimental funk/jazz/soul/electronic cadre of Flying Lotus, Thundercat, and Kendrick Lamar comes to mind). Many artists, as the upcoming documentary’s producers assert, can still trace their lineage back to Gaye and his magnum opus.
It’s the guts of What’s Going On, though—the topical observations of war and violence and hardship—that persist most saliently. Those are truly the focus of the album. Peek into the mind of Gaye, see through his eyes, listen to his voice, and you’ll find that the things he was seeing are not so different than what we see today. Within his lyrics is our sobering realization of just how far we haven’t come since 1971.
Gaye fashioned What’s Going On as a concept album, telling a story from the perspective of a soldier just returned from the Vietnam War. Upon the man’s return, he finds only hatred, injustice, and suffering. The idea stems from Gaye’s brother, Frankie, who fought in Vietnam and relayed horror stories when he got home. Through those stories, Frankie passed his trauma on to Marvin, and it was that emotional exchange that inspired him to collaborate so much on the record. People can convey so much more together, he realized. Frankie was also the focal point of the album’s second song, “What’s Happening Brother?”
Perhaps Gaye can challenge America once again to ask, “What’s going on?”
The album begins as the story did, with the aforementioned title track, and it, too, was rooted in harrowing reality. Obie Benson based his version of “What’s Going On” on an act of police brutality that he witnessed in Berkeley in 1969. “‘What is happening here?’…Why are they attacking their own children in the streets?” he asked author Ben Edmonds. “My partners told me it was a protest song. I said, ‘No, man, it’s a love song, about love and understanding. I’m not protesting. I want to know what’s going on.'”
It’s an inclination that many of us face every day. As we see brothers and sisters and mothers and fathers attacked and killed, it’s reasonable that we should want to know “what’s going on.” And as the record develops we’re presented with other ideas that continue to resonate today. “Flyin’ High (In the Friendly Sky),” for instance, the album’s third track, details the heroin problem that afflicted many Vietnam veterans. Today, our vets still experience undue emotional trauma that’s not adequately cared for, and heroin addiction remains one of the only available and affordable options for relief.
It continues from there. The LP’s second single, “Mercy Mercy Me (The Ecology),” is a prescient ode about our mistreatment of the environment. “Right On” tackles economic disparity. “Inner City Blues (Make Me Wanna Holler)” addresses the bleak economic situations and oppressive living environments of inner city America. All of these things still ring true today. 45 years later, these issues remain issues.
This all leaves me thinking about our own future. What will we be saying 45 years from now in 2061? Who will be our Marvin Gaye? Did the documentary, like the album that inspired it, challenge America and galvanize a young artist who learned to speak for a generation? To heal a generation? To change a generation? It’s something we should think about now. We should heed Gaye’s words in “Save the Children” when he insists: “Live life for the children.” If we do that, at least they won’t have to open each morning’s paper with blood dripping from the headlines. At least they won’t have to ask every single day: What’s Going On.
Image: Tamala Records
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