This article is part of the What Pop Punk Gave Me series. Previously, Motion City Soundtrack and the inadequacy of language.
The What Pop Punk Gave Me series is about celebrating a much maligned genre, which frequently takes the shape of in-depth personal reflections on songs, albums or bands. But we also want to zoom out a bit every so often, and take a more sweeping look at this music that means so much to us. So here are some of our favourite works in pop punk, ranging from concept-driven rock operas to gag songs about masturbating. This isn’t a list of the best pop punk albums ever, or a primer on getting into pop punk, or even a list of our definitive favourites. But it is a list of albums that we love and wholeheartedly recommend.
Continue reading “I Know I’m Not Your Favourite Record”
We can’t really claim these are what we think should have been nominated at the Emmys, or should win, since there’s an impossible amount of television to watch in the world. But if we were the only two members of the Television Academy and we could nominate any TV that aired in the most recent television season (from June 2017 to May 2018), and we only cared about the seven major awards in drama and comedy, this is what you’d get.
We didn’t distinguish between limited series and other drama series, since supposed miniseries get second seasons if they’re popular enough (see: Big Little Lies), and regular drama series get rebranded as miniseries when they get prematurely cancelled (see: Dig), while modern anthologies are just regular series that replace narrative continuity with thematic continuity (and some don’t even shed their narrative continuity completely, e.g. American Horror Story, Fargo, Black Mirror). Each of us filled out our personal nominees and then selected the winner by consensus, so the winners only came from shows we’d both nominated, but we’ve each picked a personal runner-up regardless of whether the other has seen or nominated it. We also each gave a Special Achievement Award for something not covered in the major categories – Dean gave the award for Drama, and Ciara gave the award for Comedy.
You can see each of our full slates of nominees at the bottom of the post.
Continue reading “The Sundae TV Awards 2018”
See all the nominees here.
Here’s a brief cultural history of “the villain is actually right” hot takes, as I understand it. People were like “What if Claudius is the real hero of Hamlet? Makes you think” and it didn’t really stick. Then a couple of hundred years passed and someone pointed out Walter Peck from Ghostbusters was obviously correct to not let the Ghostbusters run a nuclear reactor without permission, and it got clicks, so people were like “I wonder if I can do that with other eighties movies” – haven’t you ever noticed it’s always eighties movies? – and now we live in a world where three people in the comments of an already terrible article about why some eighties bad guys were the secret heroes of their movies suggested Mr Vernon from The Breakfast Club be added.
Just in case you’ve forgotten, this is a man who threatens a teenager with assault before leaving him locked unsupervised in a closet. I understand why unscrupulous click-hungry hucksters publish this rubbish, but the traction it gets online is baffling and a little scary, to be honest. I know that people disregard and even hate teenagers, consistently treating their problems as if they didn’t matter and then acting shocked – SHOCKED, I tell you – when they kill themselves at higher and higher numbers. I know this, I’ve written about it before, I’ll probably write about it again. But, I have to admit, I don’t understand why. I don’t see what anyone gets out of shitting on teenagers except, I guess, the grim, bloodthirsty satisfaction of kicking someone while they’re down. People do like to just hate and hurt other people for its own sake, though they also tend to come up with ad-hoc rationalisations for it, so they don’t have to acknowledge their own sadism. Maybe the reason so many people get older and suddenly start yammering about how the antagonistic authority figures of teen movies were actually the heroes all along is because it lets them tell themselves they’re still the heroes of their own lives, now that they’ve become the villains of their adolescence.
Ed Rooney is not the secret hero of Ferris Bueller’s Day Off.
Continue reading “It’s a Little Childish and Stupid, But Then, So Is High School”
Dennis Reynolds is a bad man. All the characters on It’s Always Sunny in Philadelphia are awful people – it’s kind of the premise of the show – but Dennis still stands apart. Like the rest of the Gang, he’s all narcissism, bigotry, and rage, ready to explode at any moment at anyone he perceives to have crossed him. Once, when a guy called him a narc, Dennis’s revenge was getting the guy to chain himself to a tree overnight during a storm while Dennis slept with his girlfriend, and that’s pretty mild when you’re grading on the Dennis curve of bad behaviour. He’s a prolific rapist, and he might be a serial killer.
He’s also one of the best characters in the history of TV.
Continue reading “A Mid-Life Crisis in North Dakota”
The double feature dominated popular cinema for thirty-odd years, back when a night out at the cinema was actually a whole night out. After sitting through a mix of newsreels, shorts, serials, cartoons and advertisements, the audience would watch two films. First, the B-movie, shorter, cheaper and uglier, with nobody actors and hacky writing, and then the main feature, with its big stars and exquisite Hollywood production values.
Nowadays, unless you’re a professional journalist, seeing multiple films in one day is, unfortunately, an extravagance. Apart from just wishing people could just see more films more often if they want, my own experience of irresponsibly blowing all my money on going to the cinema, especially around awards season, has often resulted in me discovering movies that pair wonderfully as double features, because of similar subject matter expressed in different aesthetics, opposing or at least disparate takes on the same themes, or a combination of both.
It’s not the same kind of magic as those you stumble across on your own, but I have suggestions of double features that would make a great night in. Two of them were spontaneous discoveries (the ones where both films came out the same year, obviously) while I developed the others from the highly scientific method of watching a film and thinking “huh, that would pair well with this other film I like”.
Fair warning: these are all pretty heart-wrenching movies.
Continue reading “Double Features #1: See Them and Weep”
I wrote an essay for Bright Wall/Dark Room‘s body issue about slapstick, body horror and Weekend at Bernie’s II. Read it here!