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pebblysand · 2 months

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hello! you may find the entire playlist on spotify here. below is some more information on my song choices.

Castle by Eminem: very anticlimactic but i will only really be able to explain this one after the last chapter comes out. so, come back in a bit ^^.

Things We Lost In The Fire by Bastille: it's funny, i'm a massive bastille fan but it didn't really hit me how castles that song is until i went to see them live last summer. i remember being in the crowd and thinking to myself: god this is so on point. i think the lyric that gets me most is: the future's in our hands and we will never be the same again. there's such a dichotomy to that and it's so representative of what is happening in this chapter, which is harry and the trio sort of reconning with the concept of time and the post-war state of things and: now what? the excitement of: we survived and the future's in our hands, but also we'll never be the same again because we lost all these things (people) in the fire (war). i just find it very apt.

O Children by Nick Cave & The Bad Seeds: firstly, i love that song, i thing it's beautiful and it just nails that post-war tone of the early chapters. the cleaners are coming one by one, they measure the room, they know the score, etc. secondly, this is obviously the harry& hermione song, which is a massive vibe and plot point of this chapter. i will defend the dance to my dying day, i think it's one of the most beautiful scenes in the whole film and those who don't like it because of the harmony vibes are wrong. that's it 😅.

UNHEALTHY by Anne-Marie: this is a more recent addition, but doesn't this song kind of have early harry/ginny vibes? i'll let you listen and be the judge.

Wonderwall by Oasis: harry mentions oasis in this chapter, so of course i had to add this. i have listened to this song so much in the past 20 years, i can't even tell if i like it or not. anyway, here's wonderwall 😅.

Pompeii by Bastille: ah. the infamous break down of everything. as i've already said, absolutely love bastille, and this one is a classic.

Shadow Preachers by Zella Day: i added this one more recently but i feel like it also had very strong early harry/ginny vibes. i also like that it sounds a bit similar-ish to pompeii in that sort of break down of everything vibe. there's a sort of desperation to that song that i feel really fits well.

Place de la République by Coeur de Pirate: firstly, if you think of coeur de pirate as comme des enfants and don't know anything else from her, i am begging you to open to your heart to her other songs/albums, she's incredible. secondly, i've always loved this song. it so well captures this sort of regretful break up situation where she is breaking up with someone because of distance and giving them one last chance to show up and they don't. i feel like it's very much a ginny song in chapter 3, this way she doesn't really want to break up with harry but has to. it's just 😫.

Someone You Loved by Lewis Capaldi: i've gone back and forth a lot on this song, whether to include it or not. it's almost Too Much. but, also, harry is a bit Too Much in this, so it just fits.

Achilles Come Down by Gang of Youths: this is... very literal, i don't think i need to explain. i will say, for a very long time, i didn't know where the french bits were from. it sounded like some sort of documentary about suicide, which i thought was odd, but it's actually a reading of the myth of sisyphus by albert camus. i've never read it because i've only ever read camus's fiction, but he is one of my favourite french authors, so i was happy to find that out. it works with the song incredibly well, obviously.

Hell or Highwater by Passenger: we're back with the break up songs. i love this one because it very much is about the confusion and the not knowing what caused the break up, which i think is very fitting for harry, here. i also just love the writing in this song, the way he uses the "hell or highwater" saying in a different way - it's a song i very much love, even outside of castles.

Six Degrees of Separation by The Script: idk, this song has such strong 2000s vibes, and it's so break-up-y dramatic - it just fits, you know? 😅.

Giants by Dermot Kennedy: this playlist supports irish artists! ✊🏻 jokes aside, i kind of see this song as having a bit of a double-meaning here. like, of course, it's hinny break up song and plays - again - to that lack of understanding (we used to be giants, when did we stop?) but i also see it as reflective of harry's broader state of mind. it's this post-war confusion of: we used to do these great, important things, and what is our purpose, now? obviously, this first arc is very much about finding a reason to live after the war, so i feel like this song works for both plotlines.

As It Was by Harry Styles: i'm not a massive harry styles fan so the first time i ever heard this song was when he was on tour and the 'LEAVE AMERICA' trend was all over tiktok. and, i don't know, the moment i heard the song as a whole i was like, 'fuck, this is such a castles song!' especially of that early, post-war, confused era of: 'harry what are you doing sitting at home on the floor, what kind of pills are you on?' it just had to be in this playlist.

Fear of Fear by Passenger: this song is just a mood. i feel like it could play over a montage of the weeks passing in chapter four, and harry just going to work, trying to sleep, and going running in the night.

Le vent nous portera by Noir Désir: there's two reasons why this song is here. firstly, i feel like it signifies healing and the passage of time, which works very well with this chapter. it's a gorgeous song and has this idea of the wind just blowing the hardships away, an "it'll be alright" motto that i love. but also, what my international audience might not know is that this song is highly controversial - bertrand cantat, the lead singer of the band, beat his girlfriend - french actress marie trintignant - to death in 2003. he was arrested, went to jail - if you are french, just know that i'm not going to get into the Debate of whether he should still played/be listened to, etc. we all have our opinions and whichever way you're leaning i'm not going to change yours but i just wanted to note that i wouldn't have put this song in the playlist for any other chapter. but with the added theme of DV in the case giulia and harry work on here, i felt it was fitting.

Brave by Sara Bareilles: this is obviously giulia's pep-talk song haha! harry, get out of your rut, and be brave. i love it.

You're Not Special, Babe by Orla Gartland: i love this song. and, again, it's very giulia. i feel like both of these last songs for this chapter have this vibe of her telling harry to just get off his arse and do something, which is what he needed at that point. quit moping around, quit blaming yourself, you're not that special. it's really the kick off, onto chapter five.

Insomnia by Ren: ah, ren. if you've been following the playlist for a while, you will have noticed that i had a major ren moment between the end of 2023 and the start of 2024 and added, like, fifteen millions of his songs to the playlist. i feel like castles generally has such a ren "vibe" to it, which is wild because i didn't find him until well into writing the story. this song has this incredible line: i used to use drinking as a way to stop thinking and my problems with drinking made me feel like i was sinking, so i dried up my drinking and then i couldn't sleep a wink, and now i'm thinking, now i'm thinking, now i'm thinking, now i'm thinking about nothing. fucking nothing. and everything and nothing - i hate not sleeping. this is so on point for this chapter, which has harry's insomnia stalking those post-war months, and i absolutely love it.

The Last Unicorn by Passenger: ah, the first mia song 😫. my child. this is so scarily on point.

J'écoute du Miles Davis by Navii: this is really one of the core, OG castles songs as far as i'm concerned. i remember listening to it on loop very early on, writing the early chapters. i love the chorus of 'Et le temps passe' (and time passes) - it's this factual statement that i feel is very castles. "Time just - passes."

The Way I Am by Eminem: i was so mad to find out i couldn't use this song in text because it came out in 2001. obviously, very related to the press, fame, etc. which are topical for this chapter.

Dominoes by Ren: i added this one fairly recently. it's one of those songs that isn't precisely topical to the chapter itself, but i really liked the riff of "we fall like dominoes, dominoes, falling". it echoes that thing harry says about how he's afraid to fold because if the "leader" falls, then everyone comes cascading down. i felt like there's an interconnection in that song that resonates, here. and also, i think the thing about public perception and body shaming is also somewhat related to the treatment of girls in harry's life in the press.

Read All About It, Part III by Emili Sandé: i thought most people would already know this song because it was featured so prominently in the 2012 London Olympics, but i suppose it still didn't make it to america, 'cause i've had quite a few comments from people saying the playlist was the first time they'd heard it. anyway, it's obviously about harry using his voice and finally talking to the press, and it's amazing :).

Babylon by Barns Courtney: the vibes of this song feel like the fall of a civilisation and "the walls are caving in, you're paying for your sins" and... yeah. idk, i see this as the theme song to the whole battle scene at the lace mill.

What He Wrote by Laura Marling: this was always Giulia's "song" in my head, i'm not even sure why. it's got nothing to do with her but just based on vibes. i listened to this on loop writing her death. and, also, the connection with Peaky Blinders, which heavily inspired the first act of castles.

Fourth of July by Sufjan Stevens: this is just... a beautiful song about death lol. how cheerful 😅.

All My Tears by Ane Brun: and... another one, lol. also, another connection to PB.

Jimmy by Moriarty: i only have two songs for this chapter, probably because it used to be paired with chapter six so i initially didn't think of it as an independent item. anyway, this is one of my favourite songs in the world, and it's recently come to my attention that it fit quite well in here, with this idea of "coming home" (to the burrow, in harry's case. i feel like it works well with the general mood of the chapter.

CORALINE by Måneskin: ah. coraline, coraline, di me la tua verita... this is the beginning of harry, and ginny, and the letters, really.

#castles

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scifigeneration · 4 months

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Westworld at 50: Michael Crichton’s AI dystopia was ahead of its time

by Keith McDonald, Senior Lecturer Film Studies and Media at York St John University

Westworld turned 50 on November 21. Director Michael Crichton’s cautionary tale showed that high-concept feature films could act as a vehicle for social commentary. Westworld blended cinematic genres, taking into account the audience’s existing knowledge of well-worn narrative conventions and playfully subverting them as the fantasy turns to nightmare.

The film centres on a theme park where visitors, in this case the protagonists Peter (Richard Benjamin) and John (James Brolin), can enter a simulated fantasy world – Pompeii, Medieval Europe, or the Old West. Once there, they can live out their wildest fantasies. They can even have sex with the synthetic playthings that populate the worlds.

This sinister idea went on to be explored further in later films such as The Stepford Wives (1975 & 2004), A.I. Artificial Intelligence (2001) and Ex Machina (2014).

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Of course, it all goes terribly wrong when a computer virus overruns the park and the androids become unbound from the safety protocols that have been encoded into them. The resultant horror climaxes with Peter being stalked through the park by the menacing gunslinger (Yul Brynner).

The film isn’t perfect. Westworld was Michael Crichton’s feature directorial debut, and it shows – as does the tight shooting schedule and frugal budget imposed by MGM. The studio was notorious at the time for mishandling projects and their directors.

Compared to some of the other notable films released that year, such as William Friedkin’s masterful The Exorcist, Nicolas Roeg’s terrifying Don’t Look Now and Clint Eastwood’s assured High Plains Drifter, Westworld has a B-movie aesthetic.

This is, though, elevated by a towering performance from Brynner, and the high-concept approach that later came to dominate the Hollywood system. The film also provided fruitful inspiration for an ambitious HBO adaptation in 2016.

Genre blending and bending

Westworld successfully blended science fiction with other genres. In this sense, it was a pioneering film, which made the most of its limitations due to the hugely influential imagination of Crichton and a postmodern masterstroke of the casting and performance of Brynner.

Today’s cinema is saturated with meta-textual references – moments when a film makes a critical commentary on itself or another movie. This was typified by Michael Keaton’s recent reprisal of his role as Batman in The Flash. But when Westworld was released, such creative choices were novel and fresh.

Bynner’s android gunslinger wears a costume almost identical to the one he donned for his role in The Magnificent Seven (1961). The choice adds dramatically to the thematic concerns of the film – the saturation of consumer culture and the postmodern bent towards repetition, simulation and cliche.

The simulated scenes in the theme park itself are built around cliched movie moments. The three settings which high-paying customers can enter represent film genres: The Medieval simulation, the “swords and sandals” recreation of the Roman Empire and the titular western.

When Westworld was released, each of these genres (the Medieval history, the Roman epic and the western) were already past their heyday, both in terms of popularity and reliability at the box office. Using them furthered the film’s comment on contemporary Hollywood – that it had run out of original ideas and was simply cashing in on nostalgia.

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Westworld and AI

Though other films, like Stanley Kubrick’s 2001: A Space Odyssey (1968), were exploring the concept of nascent AI around this time, Westworld arguably did so in the most accessible style. And its legacy in doing so is clear in subsequent films, such as The Terminator (1984), The Matrix (1999) and recently in M3GAN (2023).

Crichton later revisited the notion of a theme park turning perilous due to the Promethean human instinct in his novel, Jurassic Park in 1990. Steven Spielberg’s adaptation remains one of the high points in American action-adventure cinema.

The fascinating scenarios Michael Crichton explored in his work successfully embodied the societal anxieties and technophobia of the 1970s. And in Westworld, he demonstrated a flair for capturing such fears in visual set pieces. This is no more evident than in the iconic, uncanny image of Yul Brynner’s deadly, sentient killer cowboy. Fifty years on, it remains one of the most memorable images in science fiction cinematic history.

#artificial intelligence #technology #movies #science fiction #science fiction and fantasy #futuristic #Westworld #Sci Fi Time Capsule #Youtube #featured

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confesspinkfloyd · 1 year

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whoever filmed live at pompeii had a ginormous crush on nick (and probably wasn't a big fan of roger)

#roger waters #nick mason #pink floyd

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wontgetfooledagain · 6 months

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Pink Floyd - Live at Pompeii - 4K + Quad Mix - Full Concert 1972 film

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#Youtube

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thelasthippie · 3 months

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Pink Floyd - Live at Pompeii - 4K + Quad Mix - Full Concert 1972 film

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I was in that Colisseum few years ago... I just felt the vibrations... I know, just suggestion , but was to fall on the grass and listen to them. Unforgetable

#Pinkfloyd #RogerWaters #NickMason #RichardWright #DavidGilmour #Pompeii4k #4klegends #MadGong #DogSing #madammeknobs #Echoes4k

#Youtube

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more-relics · 2 months

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Roger Waters Pink Floyd, December 1971 (Studio Europa Sonor, Paris, France)

#roger waters #pink floyd #studio europa sonor #paris #france #filming live at pompeii #1971 #my edit

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radio-in-color · 3 months

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oh to be one of the children who snuck into the amphitheater to watch live at pompeii being filmed...

#pink floyd #live at pompeii

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mariacallous · 7 months

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If the question hasn’t hit your For You page or Twitter feed (or group chat) yet, it will: How often do you think about the Roman Empire? The provenance of the query is a little blurry, but it maybe started with this tweet (which also references an Instagram Reel) or possibly this TikTok. Or this one. The point is, everyone is trying to figure out how often the men in their lives think about the Roman Empire.

According to one of those ur-TikToks posted by @paige.elysee earlier this week, you will be “shocked with their responses.” But if my friend group—and the WIRED Culture Slack—are any indication, the responses are simply … interesting? When I sent the question to group chats yesterday, most of the responses skewed toward, “Is this that Twitter poll? lol” or “I got asked this last night. Truly never.” In other words, they weren’t shocking but were definitely amusing. Some colleagues generously interjected with “My brain: ‘The Roman Empire is to men what girl dinner is to women’” and “My theory is that it's because that Daily Stoic podcast is so popular.” WIRED legend Steven Levy offered that he thinks about Ancient Rome, “Every time I write about Mark Zuckerberg.” But according to people who aren’t my friends, the answer is more along the lines of “every single day” or once a week or “a few times a month.”

I decided to poll WIRED colleagues. Now, I’m of the opinion that it’s kind of ridiculous to gender this question—people of all identities can be history buffs, y’all!—but maybe that’s an argument for another time. As of this writing, answers are still pouring in on the impromptu Google Form I set up, but in a group that consists of a good balance of men and women, about a fifth answered that they “never” think about the Roman Empire. “Never” was tied with “weekly,” followed by “monthly” at about 15 percent of respondents.

In my deep, morning-long investigation, there were also more than a few responses that pointed to the Cold War or Pompeii or the 1920s as time periods more worthy of contemplation. This, ultimately, led me to a theory: Dudes/people don’t think about the Roman Empire a lot, they think about media about the Roman Empire. Video games set in the Colosseum, old films like Cleopatra, roughly a million History Channel docuseries, Monty Python’s Life of Brian—these things are burned into our memories. Jay-Z was able to put Russell Crowe’s “Are you not entertained?” at the beginning of “What More Can I Say” because Gladiator was so popular.

My own ponderings of Ancient Rome tend to hover around the persecution of Christians and the empire’s conversion to Christianity after Constantine. Then I think of Keanu Reeves. One of my former editors responded to my group text query by noting that she’d recently watched HBO’s Rome concurrently with Amazon Prime Video’s Domina to “contrast the characterizations of Octavian’s wife during the Second Triumverate.” Then I Googled this and went down a rabbit hole of my own.

This is the state of media consumption in 2023. Hollywood, hungry to adapt any story it can, has turned history into IP—shows and movies that we now watch with phones in hand and laptops open to delve into whatever new tidbit shows up onscreen. Who amongst us hasn’t lost hours on the KGB Wikipedia page after a binge-watch of The Americans or sought to fact-check The Trial of Chicago 7? Fire up any streaming service and there are hours of content about World War II. I once dedicated nearly a month of reporting to Alan Turing’s “Bombe” code-breaking machine after I saw The Imitation Game. Frankly, Turing is probably my Roman Empire. (Ask me about the Apple logo in the comments.)

As the cliché goes, history is always written by the victors. But in modern times, it often gets translated by screenwriters and then “punched-up” by studio notes. People tend to be obsessed with the past. The longer my text and Slack threads stretched, the more respondents tried to figure out why anyone was even talking about dudes and the Roman Empire in the first place. It devolved into questions about why humans are enthralled by war, the collective fascination with powerful men, and on and on and on. No one ever figured out why the meme went viral—or whether men really do think about the Roman Empire all that much, or more than people of other genders. But we were entertained.

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redrascal1 · 5 months

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Another Beloved Franchise....Gone.

For those in the UK, the sci fi show Doctor Who had a HUGE following....despite its shaky sets and at times, dodgy dialogue!

But it was a much loved show.

David Tennant was my personal favourite. He was an amazing Doctor, had some great sidekicks and gave some great performances. Two stories - The Fires of Pompeii and Family of Blood - were very highly critically acclaimed and deservedly so. It also launched the acting career of former singer Billie Piper.

So, I was thrilled when he returned as the Doctor for the 60th Anniversary Special.

Only to discover it had been...obliterated by the Goddesses of Woke.

David's Doctor was repeatedly humiliated, and ridiculed by...guess what? His former female sidekick and her daughter, the former originally a lovely character who has now been through the same transformation as Rey in TROS. The entire show was little more than a way of once again asserting the 'women are superior and don't need men' trope that is becoming so very...tiresome.

I don't know any woman who wants this. 'Strong' women don't humiliate men. 'Strong women' want to be seen as a man's equal.

And guess where this 'show' was broadcast? Oh, right. on Disney+.

Disney, once the company who brought us stuff like Beauty and the Beast and The Lion King (original versions) have now become little more than a toxic organisation pushing a disturbing anti male agenda. TROS is a perfect example; ALL of the men in that were portrayed as infinitely inferior to Rey. Not just Ben, but Poe, Luke, Finn and even Palpatine - he was such a powerful Sith not even Yoda could defeat him in single combat. But, Rey, Goddess of Womanhood, managed it by crossing two lightsabres...and then, presumably because She Is The Superior One, even managed to stay corporeal after her 'death', rather than fading into the Force so that Ben Solo, last of the Skywalkers, could fulfill his family's ultimate purpose - to die to save the Last Palpatine, who of course is MUCH better than her granddad as she is 'woman'.

What the fuck are Disney playing at? Do they realise how dreary and predictable they are becoming? Does anyone want this stupid stupid dross that passes for entertainment? It's as embarrassing as it was back in the 'bad old days' where women fainted at the first sign of trouble and men were constantly fired up on testosterone.

I don't want this. Nope, sorry. Disney are going to have to learn something. Their first and foremost function is to entertain. And frankly, I don't find an endless propaganda machine about how better women are than men entertaining.

Live action Little Mermaid. Indy 5. TROS. All of these underperformed at the box office.

Willow. Cancelled after one season.

Disney refuse to listen. Instead they intend to make a possible series of films about how fantastic Rey Palpwalker is.

How long can they keep wasting money?

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