#heaven's feel 3 spoilers keep popping up on youtube. it sucks

[theworstbob]

the thing journal, 4.9.2017

scattered thoughts on the things i took in over the last seven days. this week: hannibal s3, bad cop/bad cop, the lobster, netflix teen mystery drama (yeah i’m not gonna type the name out, i ain’t finna deal with a fandom), joey bada$$, the big nowhere, win it all

1) Hannibal, season three: Boy, we sure did spend half the season stumbling aimlessly around Italy, didn't we? No no no, give me another abstract montage with fun camera tricks and eight layers of symbolism, Mr. Neftali, I was gonna say, it's been a few scenes since we've had a montage, when are you gonna deliver another one? FUCK IT! THERE AIN'T GONNA BE A SEASON FOUR! INDULGE ALL YOUR WORST IMPULSES! The show picked up once it got to the Red Dragon plot, and one would have to imagine that is due to the fact of, um, the plot existing at that point?, but I think this show took these characters about as far as they could go. This was a good place for it to end. I'm not sure how far they could have gone having everyone speak to Hannibal through a wall for 13 episodes (it was starting to get tired even after a few episodes here). I did enjoy the Red Dragon episodes, that was the Hannibal I loved in the first two seasons, and it built well toward the ultimate ending (or penultimate ending, yay post-credits sequence, do set up that fourth season, no no no definitely gonna happen). Not Hannibal at its best, but close enough and still good enough when it was On that it I'm still OK calling Hannibal one of my favorite series of all time.

2) Not Sorry, by Bad Cop/Bad Cop: I DERIVED VALUE FROM A DIVE INTO YOUTUBE COMMENTS I went into the comments under a Bombpops song just to see what they were like, and they weren't... as bad as I expected? Not good, but at least not explicitly hateful. But someone in the comments mentioned this band, and I was intrigued enough by the name to check 'em out. (I check out new-to-me bands if they're recommended by a trusted source or if they have a dope name.) And that YouTube comment was right, this album fucking rules. "Cheers" is another item in the long list of things I love named Cheers, the closer is superb, and just, there's so much punk/rock goodness, and I can't believe I heard about them via a fucking YouTube comment.

3) The Lobster, by Yorgos Lanthimos: yoooooooooooooooo My chief disagreement with this film is that it's sort of a waste of a fantastical premise. Maybe I'm just spoiled by BoJack Horseman, but I think the premise that single people are turned into animals was mostly wasted, didn't provide for any interesting background jokes, didn't create moral dilemmas when the woman asked the dude to catch rabbits, was barely even a concern through the second half of the film. It only sticks out because so much of the rest of the film was executed superbly. I loved where the film took the main part of the premise (you have to find a mate, you have to share one defining characteristic with that mate; on the outskirts of civilization are Loners). The dialogue is so stilted and unnatural and performed in a highly mannered way, and once you get to the Loners and there's this woman speaking freely and naturally, it really adds to The Leader's power (and that's such a fucking cool performance, too, on its own), and it makes it more pronounced that the dude and the woman never quite break from their practiced way of talking, never quite breaking from the society that instructs, "This is what love is. Loneliness is dangerous." It's also some of the bleakest comedy you'll ever see. It's an odd fit for John C. Reilly's big ol' heart, but he makes it work as he always does, and MY GOSH THE HEARTLESS WOMAN. I WANT A WHOLE MOVIE ABOUT WHAT THE HEARTLESS WOMAN GOT UP TO BEFORE COLIN FARRELL CAME ALONG.

4) Netflix Teen Mystery Drama, s1, cr. Brian Yorkey: So, one good thing, I loved how the show delineated Today from Yesterday, making Today cold and Yesterday warm. It's a simple thing they did, but it gave the show a distinct look and let them do some neat visual stuff with the flashback structure, like I'm not sure I stick with this show if it weren't such a cool thing to look at. Because fucking yeesh. This is a show about stupid people who keep secrets. Literally the entire show doesn't exist if any character told the truth to anyone else in this show at any point. Half of this show is one character saying to another, "I can't tell you that yet" or "I'm not at liberty to discuss that" or "You'll have to find out for yourself" or "This stays between us." I'm hesitant to say it's bad writing, these are TV professionals and I’m a yutz with a blog, but I found it highly disagreeable. And that sucks that the show was written like this, because there's something great about this idea of how kids hurt each other without realizing what they're doing because they’re idiots who don’t know how to be people. I thought it was fascinating that, as these horrible things were happening to the main girl, they kept cutting to the main dude being on the margins, observing the events but not doing anything helpful, and if the show had a tighter focus and could have followed that arrow more closely, it would have been so much better for it. I know this was based on a novel, and while I will likely not read the novel, I have to imagine the novel is better, because the novel doesn't have to fill 13 hours of television with All The Things ALL THE THINGS and pad itself out by having people lie to each other until it is time to make the revelation ("Why can't you tell me now?" "Because you have to wait." "For what?" "Episode nine." Like if you won't be real with each other at least be real with me), and it can be about just The One Thing. That sounds so much better than this show, which feels overstuffed and, I just, I have to ask, season one? Season one. Are you kidding me. How are you going to find 13 more hours in this universe, about these people. Like, I'm good. It's like Broadchurch, I will respect that there's other seasons, but I think y'all did what you came to do in the one. Honestly, between this and the American Psycho musical, I have no idea how Next to Normal is so good. (Compliment sandwich! The main girl was a really cool character, and it was so easy to imagine this being a show about Natalie from N2N in an alternate timeline. Also, I kept count, the exchange "Hey." "Hey." appears in this show four times.) Wow that was hella paragraph for something I wasn't keen on.

5) ALL-AMERIKKKAN BADA$$, by JOEY BADA$$: Hey. White man, here, trying to offer critical assessment of an album called ALL-AMERIKKKAN BADA$$. ...Maybe it's not my place. I mean, it's not really my place to offer criticism on, um, anything, but ESPECIALLY an album about what it's like to be black in America, and not just the Trump America (though he's not happy about that, either), but in an America that has always hated black people, Trump only making that subtext text. I kept thinking "break-up album with America," but that sounds reductive, as did "To Pimp a Butterfly with mainstream ambitions," and while I don't wanna reduce this, I DO still want to say those things. It's good stuff. That's all I can say, really. (Also, there’s a spate of pop artists trying to get by with all-caps names or song titles. This absolutely earns the ability to slam that Caps Lock key. You hear this shit, PARTYNEXTDOOR? This is all-caps music.)

6) The Big Nowhere, by James Ellroy: One good thing about The Thing Journal is that I have an excuse to read physical books on the bus AND read all the books my dad has been giving me for Christmas the past few years! I'll cop (ha!) to not being overly invested in the plot. Oh, boy, a story about a serial killer who's into some weird sex stuff, that's new to me, no tell me about the perverted twist that made the killer what he is, oh wow so fucked up. What I really loved this book was the realistic version of Los Angeles in the 1950s, what with the cops walking around spouting racial slurs as people do heaven and hide their homosexuality. We always get caught up in the notion that the '50s were a more innocent time, our nation is currently being run by people who want us to take us back in time, but like people were doing fuckin' heroin in the '50s. The '50s were shitty, too. I found spending time in this version of Los Angeles valuable. It's a gritty cop drama, sure, but it more than earns its grit. This has been Bob! Attempts To Review a 30-Year-Old Novel Set 60 Years in the Past!

7) Win It All, dir. Joe Swanberg: So one of my favorite lyrics of all time, I can't remember if I've brought this up here or elsewhere but I'm prolly gonna bring it up again, is from Frank Turner's "Recovery:" "Broken people can get better if they really want to/At least, that's what I have to tell myself if I am hoping to/Survive." While only having seen two of his works, this and Drinking Buddies, I feel comfortable saying Joe Swanberg has a deft handle on depicting the person from that lyric in film. My initial impression was that the film didn't do enough to prove the main character deserved redemption (minor spoiler, insofar as this film has a plot, but he does sort of spend the entire film lying to the woman he's falling in love with), but the more I've thought about it, the more I'm thinking, who am I to decide who deserves redemption? He's trying. At no point in his life has he not been trying. He is aware he has made bad choices, and he is keenly aware of his flaws. (His reaction to the contents of the bag is priceless. Jake Johnson is a treasure.) If he makes an honest effort, why shouldn't he get better? No one deserves to be broken, either.