Ruleta Americana - Casino Tarragona

Dead Rising 2 - Noticed the carpet in the Americana Casino is the same as the one from The Overlook Hotel from ‘The Shining’

Dead Rising 2 - Noticed the carpet in the Americana Casino is the same as the one from The Overlook Hotel from ‘The Shining’ submitted by NickenMcChuggets to GamingDetails [link] [comments]

Why NY and not just NYC would be a unique, interesting, and fun FO5 setting

To start, this should be a single player game. If Bethesda/Obsidian/MS can make it so I can play with 1 or 2 friends, I want that but understand it's not that simple.
So why it should be picked:
First, NY has an amazing history when it comes to Pre-Revolution, Revolution, the Civil War, and beyond. Major events like the battle at Saratoga (which is considered the turning point of the Revolution), the 1980 Miracle on Ice, and Woodstock (along with a whole lot more) all took place in upstate NY. So the rich history of the area is ripe for pro American stylizing and propaganda that gives FO it's unique take on American Atom-punk.
That along with more modern history of things like the Native Americans (The Oneidas) actually taking back their land and forming their own sovereign nation (basically they have their own gov. Pay no state taxes, and self govern with police, fire, and allow gambling which NY does not). So their modern government would not only be some great lore, but I honestly believe could be a basis for the main quest line. Things like their unique tribal leadership, philosophy, and gambling (hello 10 luck) could bring a very grey area to fallout that was kind of missed in FO3 + 4. Plus their mythology would make for a great weird scene that fallout has at least 1 of every game.
Also, for those who don't know, upstate NY is very country with major cities pocketed about. (Utica, Albany, Syracuse, etc). So if you liked NV style of wandering the wastes, or 3s style of city wandering, we've got both. Also, we've got two mountains areas, one in the Adirondacks and the Catskills are the other.
That said, one of the most important parts of fallout are the locations. Where can we go? For that I have a list:
Major locations:
Lake Placid Winter Olympics training facility - the winter olympics world be held in 2078 and if they still exist by then and to play into the game, LP could be the location of those games. Again, the miracle on ice where American Amateurs bested the Communist Russian Pros, was held there. The "Better dead than Red" sentiment would be full force. Not to mention one of a few great locations for a possible vault (80, in this case to house winter olympians). Plus, the weapons could be cool too. Hockey sticks, hockey skate blades on gloves, a goalie mask for armor, you name it.
Cooperstown Baseball HOF - Now when you think Americana, Baseball is one of your first thoughts, don't lie. Cooperstown is baseball central and very pretty. Another great place for pro-american styles and fun gear like baseball base mines, softball helmets (because fuck you "A League of Their Own" style pro-baseball league in FO sounds awesome), and of course bats and baseball grenades. Also a baseball Vault (Vault 4, 5, 7, or 9). Not my idea, but in this vault, there's 32 teams of mens and 32 teams of womens baseball (or coed teams, idk), all of whom are pro players. Vault tec test is simple, winner gets food and drinks, loser gets steroid infused food and drink (but they don't know it has steroids obviously). The idea is, test how good at baseball people can be if given monster amounts of steroids for generations. I'll make a separate post about this in detail if desired.
Canastota Boxing HOF - Another unique area for America. Canastota is pretty boring and empty, but for those of you old enough to remember Rocky when it came out, it basically revived Boxing as a major sport and also had a moment where America bested the Red Menace (Rocky IV). Maybe a spot for a vault or to learn unique unarmed moves. Pugilism Illustrated anyone?
Albany - NYs capital and an easy big city area along the Hudson. A great location for corporate greed, governmental corruption, and side quests. Can't say it'll be the focal point of the game since its very near the eastern border of it, but a good location for exploring and lore.
Buffalo/Niagara Falls - Ya ever gone over the falls in a barrel? Do ya want to? I think using Niagara Falls (which has an American and Canadian side, Canadas is the U-shaped famous one) as Fallouts first "Non-American" location would be fun. First, the falls are beautiful and are a major source of hydroelectric power. Second, in FO, America annexed canada, so it's technically still America! Third, right across the "border" are casinos! More gambling! Third and a half, it's another big city and buffalo is where the buffalo wing was invented (God bless buffalo wings). Besides the cool lore opportunity about the annexation and the city location, the falls could be a major location for the story if the main conflict was about powering the area, similar to NV.
Syracuse - NYs (literal) center city. The Salt City as it was formally known is a big city with some great old and new style. Again, not much about the city to say, but a great opportunity for corporate BS. The main attraction would be the Syracuse Dome (formerly the Carrier Dome). Due to its location and style, it's perfect as a central trading hub for the major cities and people. Think of Great Green Jewel style, people living, bars, shops, etc. BUT the really interesting part is what's right next to the Dome. SUNY ESF (Environmental Science and Forestry). This college is special because (A. I went there) it has very unique programs and with some future tech thrown in, could be a great location for a Fallout 3 Harold or NV vault 22-esq quest. The college already does experiments with major chemicals, evolution (FEV anyone?) and breeding plants for unique purposes. Again, I have a really cool idea for this area, but that can be a different post. Fun fact, ESF is actually working to bring back the North America Chestnut that went (nearly) extinct! Also, some asshole releases the fruit flies the genetics lab work with every year and it sucks.
NYC (Empire, 9/11 memorial, Statue of Liberty) - Yeah yeah, you can't have NY without the City, but frankly there's so much here to explore and deal with, I'd leave it to the pros to really do it justice.
Turning Stone Casino - Gambling, a hotel/restaurants like in NV, and a good spot for the main quest line.
Fort Stanwix - A real revolutionary war fort. HQ or major area for raiders. Safe, well protected and with plenty of history.
Fort Drum and Griffis Air Force Base: Two major bases that could be packed with guns, nukes, and power armor. Heavily guarded by turrets, robots, and security gates.
Main Quest:
Without too much detail, I figure your character will be hired to figure out the future of NY.
You'll be brought to the Turning Stone which is currently the HQ of the Oneida tribe. Your job would be to either work with the other tribes in the former Iroquois Confederation (Seneca, Cayuga, Onondaga, Oneida, Mohawk, and Tuscarora [added later]). (Quick note: in my AU, some time after the bombs fell, the IC came to power because of their knowledge of living off the land and attempted to rebuild society. After some time rebuilding and establishing a post-war society, the tribes do the thing all humans do and bicker. Around 2200 the IC broke apart but the tribes retained power in their areas. They fight, trade, yadda yadda but no one is in control of everything.
Throughout your quest, it turns out that what is holding everyone back is a lack of power for things like lights and running water. Your job will be to determine where to get that power (Nuclear power plant in Oswego or the falls in Niagara?) And where to give it (one tribe? A few? Or all?). But that's not all, the tribes can't decide who should be in charge. One tribe wants to remain independent, don't help the outsiders and rebuild society in their image within NY, another wants to help others but would need to sacrifice their own people's safety and seclusion. Maybe another wants to be imperialist and expand their borders throughout America through way of force and fear while another agrees with taking land but wants it done through offers of protection for taxes. And each tribe has its own opinion on bringing the IC back together, staying separate, or taking over the tribes for themselves.
It's up to you character to decide who to help. Do you work hard to try and bring all tribes together under one banner or choose a side and execute their will as a paid mercenary/ambassador?
Other choices would be chaos by siding with raiders, or maybe a BOS path to take out all the tribes, idk, haven't thought it all out. Again, not a writer.
So personally, I like the idea that if you choose to go with a single faction, there would a battle/war mechanic where you and an army (or alone if you really wanna try) take over and lay claim to areas similar to Nuka World where you fly the gangs flag. Nothing complicated, normal fallout fights, don't die and kill the leadehis troops to win.
Karma is back. You will garner good or bad rep with each tribe depending on what you do. I'd like an armor system like in NV but I can live without it.
There is an ending. Once you beat the game you can continue doing side quests for armoexperience/ammo but only for the tribes left in power. Occasional rebellions will rise up as random events that need to be put down.
Settlements are limited. Like skyrim, but a plot and build. No need to build one everywhere and you don't even need to do it if you don't want to.
Radio host? Gimme a Mr. New Vegas type guy. I don't want an eccentric 3-dog, I want a smoothed voiced person wishing me lady like luck.
Also, smarter AI.
Otherwise, typical FO mechanics. Weapons degrade, can upgrade weapons and armor, etc.
Main problems with NY:
No real borders to the south. Invisible walls would like be necessary which is stupid. Same to the East, but the Hudson could theoretically be used as a border if you put crazy strong mirelurks or something to kill the player if they tried to cross (or more invisible walls)
Don't want to disrespect the tribes. This is an issue with using each tribe as a possible faction. You're bound to piss off or disrespect one. So it'll be a task to make sure it's as limited as possible.
What to do with the city? It's a huge area that can be used for so much, but as a part of NY it's actually pretty seperated. It's a commercial hub now, but there's nothing there that would really be a reason to go down there. So do you make it one or do we just make it a glowing sea type area that's completely decimated from the bombs? That's my personal choice honestly, but it's a tough one to please as many as possible.
Conclusion: NY is rad.
I'll be taking questions as long as they do not involve Canadian trivia. Thank you.
submitted by Tykuhn42 to Fallout [link] [comments]

Il mio viaggio nella storia del cinema: dal 1960 al 1964

Sono quasi al termine della mia carrellata nella storia del cinema, perché attualmente mi sto godendo la visione dei film del 1969, nice, e ne avrò certo per 2 mesi. Quindi col prossimo post mi metto in pari, ma intanto ecco qualche spunto per questi 5 bellissimi anni di cinema che sono la prima metà degli anni '60.
Di quest’anno ho visto 275 titoli e ho dato almeno un 8 a 47 film, è un grande anno di cinema ma ne segnalo giusto 5, e tutti italiani! E per complicarmi la vita non parlo né della Dolce Vita, né dell’Avventura, né di Sordi e nemmeno della Ciociara. Mi sono piaciuti? Certo che sì, perché a qualcuno no?
Era notte a Roma” di Rossellini mi piace tantissimo. Intanto è il mio film preferito con Giovanna Ralli, che prima della Ferilli c’era lei, e poi c’è Leo Genn (Petronio di Quo Vadis?), il mio beniamino Renato Salvatori e in un ruolo commovente il russo Sergey Bondarchuk, il quale tra l’altro nel 1959 aveva diretto e interpretato l’intenso e ottimo “Il destino di un uomo”. Torniamo alla Ralli che in piena WWII vive in una casa all’ultimo piano di un palazzo ed escogita gli espedienti del caso per portare a casa un po’ di zucchero, del vino o della pasta. Siccome è sveglia, i partigiani la scelgono per ospitare in gran segreto tre soldati alleati su in soffitta. La Ralli si ribella ma alla fine fa il suo dovere, e i 3 sono al sicuro. Per accedere al soffitto c’è un passaggio segreto dietro l’armadio (Anna Frank mi viene in mente), e i 3 diventano amici tra loro e amici suoi. Ora però il problema è che siamo in guerra e che è un film di Rossellini, non di Walt Disney. Quindi tenetevi pronti.
Adua e le compagne” invece è un gran cast al femminile capitanato da Simone Signoret con il buon supporto di Emmanuelle Riva e Sandra Milo. Molto prima di “Ciro! Ciro!” la Milo era attrice di culto degli anni ’60, e non solo in mano a Fellini. In quest’anno per esempio è accanto a Lino Ventura in “Asfalto che scotta”, per dire. Certo è la Milo, la voce è quella, la figura è quella, la verve anche. Qui hanno da poco chiuso le case chiuse e sfrattato le Signorine che le popolavano. Signoret decide quindi di mettersi in affari e avviare una trattoria in un casolare di periferia insieme alle amiche. Faranno a turno in cucina e ai tavoli, e magari se qualche cliente vuole qualche massaggio, perché no? L’idea funziona e la trattoria va bene, ma le amiche cominciano a voler cambiare vita, o si rendono conto che in realtà non possono. Ci sono quindi 4 reazioni diverse causate dagli eventi che si susseguono. È un film in cui si sorride e che ti dà un po’ di malinconia, ma si sente l’odore di frittata, di cipolla, di basilico.
Dolci inganni” di Lattuada è il primo film che ho visto con Catherine Spaak. Per me la Spaak era una presentatrice tv. Da ragazzo guardavo Harem, o anche Forum quando lo presentava lei. Sì, sapevo che aveva recitato, ma non ci avevo mai fatto caso veramente, mi aspettavo un paio di film senza pretese. Invece, anno dopo anno nel mio percorso cronologico mi accorgo che nella prima metà degli anni ’60 la Spaak aveva i ruoli migliori, era bellissima, brava e tra le attrici più famose. È stata una rivelazione per me. Teniamo presente che la Spaak aveva nel 1960 solo 15 anni. Era bravissima! Per l’età che aveva spesso aveva parti alla Lolita. Qui ad esempio è attratta da un amico di famiglia che ha quasi 40 anni. La Spaak era seducente, fresca, intrigante. Gran sorriso. Questo film e anche altri successivi mi sono parsi modernissimi: la settimana prima vedi le attrici americane con le gonne a campana e il filo di perle del dado Knorr, la settimana dopo c’è la Spaak che flirta con un architetto. Magnifica.
La maschera del demonio” è uno dei film del filone italiano horror. Quando leggo horror penso al sangue e alla motosega elettrica, quindi non faccio una faccia contenta, mi stufo. Però a fine anni ’50 si attiva questo piccolo genere in cui emergono mostri e vampiri che in breve si afferma e crea uno stile invidiato ovunque. Sì, qui una donna viene uccisa con una maschera piena di chiodi acuminati, ma non devi metterti le mani davanti agli occhi perché fa troppo impressione. C’è il giusto bilanciamento tra suspence, storia, effetti speciali e ridicolaggine. Non sono film di livello A+ però sono veramente tipici di quest’epoca, ti fanno capire meglio di altri il gusto di chi andava al cinema in questi anni e per questo per me sono interessanti.
Rocco e i suoi fratelli” è un film che voglio rivedere, ma non so quando sarò pronto per rivederlo. Quest’impressione me la fanno pochi film, quelli che mi colpiscono così in profondità che devo prepararmi psicologicamente alla visione successiva, e anzi devo prima capire se voglio affrontarla. Schindler’s list, Se7en, Casino e Full Metal Jacket sono altri film che mi hanno fatto lo stesso effetto. Dunque qui abbiamo una famiglia di emigrati che va a vivere in un seminterrato a Milano. Sono tanti in poco spazio e si arrangiano. La matriarca è l’ottima Katina Paxinou che capisce e gestisce con pochi sguardi. I figli sono Rocco e i suoi fratelli. C’è qualcosa di buono in questi ragazzi, ma c’è anche la vita in agguato. Le strade che prendono sono forse prevedibili se vogliamo, ma questo le rende anche più tragiche. Una donna entra nella vita dei fratelli Alain Delon e Renato Salvatori. Ora, c’è una scena in cui Alain Delon è disteso sul letto, un po’ sbilenco, con lo sguardo rivolto verso la telecamera, e quella scena è indelebile nella mia memoria, è come se Visconti mi sussurrasse all’orecchio quello che vuole dire. Ma ovviamente il dramma che si consuma tra Salvatori e Girardot è ovviamente il cuore del film ed è la scena che non voglio mai più vedere, perché nel farlo perderebbe forse la carica di sorpresa, sgomento, emozione che mi ha trasmesso la prima volta e ci resterei male, o peggio ancora mi renderebbe ancora più sorpreso, sgomento ed emozionato della prima volta, e ci resterei secco.
Di quest’anno ho visto 250 titoli, e 45 hanno preso almeno 8. Compresso tra due anni fantastici, il 1960 e il 1962, qui mi esalto meno, ma ci sta.
Madre Giovanna degli angeli” di Jerzy Kawalerowicz è uno di quei film che ti fa sentire figo e intellettuale già solo a pronunciare il nome del regista, ma il punto è che mentre scrivo queste righe ho in mente la scena della suora posseduta dal demonio che spalle al muro fronteggia il giovane sacerdote inviato nel convento a indagare, e capisco che quest’immagine così potente è scena da grandi film. Tutto il film è inquietante e malato, intanto sembra più vecchio di quello che è, pare realizzato negli anni ’40, il che secondo me aggiunge disagio alla visione. Però negli anni ’40 alcune scene sarebbero state solo abbozzate e il film avrebbe avuto un diverso impatto. Il prete scoprirà come mai il demonio ha preso possesso del convento?
L’anno scorso a Marienbad” di Alain Resnais è un film che non ci ho capito niente. Lo confesso. Tuttavia, mentre lo guardavo con estrema perplessità ne restavo ugualmente affascinato. Come un bimbo che è schifato da uno scarafaggio spiaccicato sul pavimento e però vuole vederlo ancora più da vicino, più passavano i minuti e più cercavo di capire dove voleva andare a parare Resnais, più mi arrendevo e mi lasciavo ipnotizzare. Alla fine non mi interessa se non ci ho capito niente, so solo che per un’ora e mezza sono stato preso e portato in un altro posto e ho visto qualcosa che non avevo mai visto prima. Per cui, mi è piaciuto.
La primavera romana della signora Stone” di José Quintero invece è un bel melodramma. C’è una signora che fa un viaggio a Roma e si imbatte in un giovane gigolò. Tutto qua ma attenzione: lei è Vivien Leigh e lui Warren Beatty. La Leigh aveva 50 anni mentre Beatty 25. Lei era una rosa conservata tra le pagine di un vecchio diario, lui è il rumore dell’acqua del mare sugli scogli; nello sguardo di lei ci sono tante risposte, quello di lui ti fa fare mille domande. Bellissima e tormentata la Leigh nel suo penultimo ruolo, bellissimo e spavaldo Beatty nel suo secondo ruolo: combinazione da non perdere.
I peplum andavano tanto a inizio anni ’60. Cinecittà era invasa da sandali, toghe, Circi e Meduse. L’epoca d’oro di questo genere è quella che va dal 1958 al 1963 circa. Per ogni Marvel di oggi c’erano 2 Ursus all’epoca. Sansone, Argonauti, Macisti contro Zorro e assurdità del genere. Grandi massi di polistirolo, matrone romane coi capelli stile Jackie Kennedy, ave Cesari e muscoli luccicanti, la gente adorava i peplum. Tante erano le star di questo genere che però non riuscirono a farsi un nome al di fuori. Tutto finì probabilmente con 2 film e cioè la Caduta dell’impero Romano, che fu un fiasco, e Cleopatra, che mandò il genere in burnout e dopo nessuno ne voleva più sentire parlare.
I musicarelli, a loro volta, erano un genere tipico degli anni ’60, In realtà si estendono più o meno dal 1958 al 1972, ma trovano l’apice coi vari Gianni Morandi, Rita Pavone, Caterina Caselli e Little Tony, quindi verso il 1964-67. Bisogna considerare che da Modugno in avanti i canzonettisti dei primi anni ’50 erano già surclassati. Andavano ora gli urlatori. Nasce una generazione di artisti fortunatissima, che in gran parte ancora oggi ha largo seguito, basti pensare a Mina, Vanoni, Celentano, che si affacciano volentieri al cinema di quegli anni. I musicarelli si somigliano: ci sono giovani protagonisti il cui amore è osteggiato dalle famiglie o giovani di talento che cercano di farsi strada nel mondo della canzone. Questi sono i temi. I primi musicarelli sono sequenze di canzoni intercalati da qualche scena con Nino Taranto onnipresente, i successivi sono un po’ più maturi e le canzoni sono più integrate con le storie. Per esempio quelli con Morandi sono così. Verso la fine degli anni ’60 c’era già invece un cambiamento nel gusto sia musicale sia proprio culturale, e si vede che il genere sta per arrivare al capolinea.
Quanto mi piace quest’anno di cinema! Forse è il mio preferito di sempre? Ne ho visti 254 di titoli e ho dato almeno 8 a ben 81 titoli. Secondo me è perché non mi aspettavo che mi piacesse così tanto, provo a spiegare. Quando ero ragazzino io i protagonisti del cinema italiano di questi anni mi sembravano così vecchi e antiquati, che a prescindere io non li amavo e mi rifiutavo di vedere questi film. Sapete come succede coi ragazzi, per loro una moda di 3 mesi fa è archeologia. Quindi quando in tv uscivano Manfredi, Tognazzi, Gassman, Sordi, Mastroianni & co, sbruffavo e dicevo uff che palle e me ne andavo a giocare al Commodore64. Questa è la mia epoca. Ora, trascorsi 40 anni, fedele al mio proposito di guardare di tutto senza preconcetti e con gli occhi di chi vede per la prima volta questi film, resto sorpreso: siamo in un’epoca d’oro del cinema italiano e non solo: le città, le auto, gli abiti, i modi di dire, i gesti degli attori di tutti gli anni ‘60, mi riportano flash dei miei genitori, dei miei nonni, delle persone che vivevano negli anni prima che nascessi io. È come assaporare momenti di una vita che non hai potuto vivere, è bello! Queste cose di cui sto blaterando hanno senso solo a livello personale, certo, d’altra parte questa rassegna “è personale” e non ha la pretesa di indicare quanto oggettivamente di meglio sia uscito in questi anni. Tenuto a mente ciò ecco 5 titoli, giusto per non fare impazzire la scrollbar di chi legge. E lo so che non ho messo Sorpasso, Baby Jane, Antonioni, Kubrick, Frankenheimer e Gregory Peck.
L’angelo sterminatore” di Bunuel è sorprendente. Questo regista aveva iniziato molto tempo prima, 33 anni, col corto d’avanguardia “Un cane andaluso”, quello della lametta negli occhi per intenderci. La sua fase surrealista è importante però mi intriga meno. Dopo un lungo periodo di titoli passati in secondo piano, negli anni ’50 comincia a girare film tra virgolette più classici. Il Bunuel degli anni ’60 per me è a livelli eccezionali. Nell’angelo sterminatore c’è un ritrovo con molte persone che bevono e conversano e flirtano e si disprezzano a vicenda. Ogni volta che qualcuno prova a andar via cambia idea, o viene bloccato, o succede qualcosa di strano per cui non riesce. All’inizio nessuno ci fa caso, ma col passare delle ore inizia a montare l’ansia perché è chiaro che sono tutti intrappolati, come in una sorta di incantesimo. Man mano scarseggia il cibo, l’acqua, e la volontà cede: non riescono ad andar via, sono in gabbia, intrappolati. Il titolo, e il motivo per cui questo succede ognuno lo deve capire da solo.
Anna dei miracoli” non ha niente a che vedere con le aureole ma è la storia molto commovente di una ragazza con gravi disabilità e della sua maestra, che sono Patty Duke e Anne Bancroft. Mentre per tutti la ragazza non è che un caso umano da trattare praticamente solo col pietismo, per la Bancroft è un essere umano capace di comprendere e apprendere, che va educato e a cui bisogna dare delle regole per il suo bene. La sfida che ha davanti la Bancroft è tremenda, perché per ottenere pochissimi risultati ci vogliono settimane di lotte. Il film è una grande prova di attrici, entrambe spettacolari. C’è una lunghissima sequenza nella sala da pranzo, quando Patty Duke si rifiuta di mangiare in ordine e la Bancroft si ostina a insegnarle come fare, che ti lascia senza fiato.
L’uomo senza passato” è un film di un regista francese, Bourguignon, con un protagonista tedesco e cioé Hardy Krueger, e una ragazzina talentuosissima, Patricia Gozzi. Hardy è un veterano, che soffre di amnesia in seguito agli choc subiti in guerra, e vive una vita solitaria e malinconica. Un giorno incontra una ragazzina con la quale stringe un rapporto di amicizia. Lei è sola e ha bisogno di una figura paterna, lui è solo e ha bisogno di sentirsi utile e di voler bene a qualcuno. C’è tanta tenerezza in questo film, e malinconia. Per quanto solo a leggere di un’amicizia tra un veterano e una ragazzina molti subito possono pensare a risvolti poco piacevoli, qui non è mai in discussione l’eventualità che possa succedere qualcosa di male alla ragazzina. Kruger è un gran attore che rifiutò anche una nomination ai Golden Globe ai suoi tempi. La Gozzi a mio parere è tra le migliori baby star di sempre. Al suo attivo solo 6 film nei quali però è sempre formidabile.
L’odio esplode a Dallas” è un film di Roger Corman con William Shatner prima che finisse sull’Enterprise. Shatner non è mai stato uno di quei attori per cui ci si strappa i capelli, ma è bello vederlo in un ruolo diverso da quello a cui siamo abituati. Questo film è bello perché ti sorprende, siamo dopo tutto in piena fase di integrazione razziale, che nonostante Rosa Parks o MLK era ben lungi dal verificarsi compiutamente. Questo film ti mostra un lato del razzismo violento e intenso con gli occhi dell’epoca, senza voler fare troppe morali o senza intenti puramente educativi. Qui c’è l’odio razziale, le croci che bruciano, le scuole per soli bianchi, l’incitazione alla violenza. È un film avanti per i suoi tempi.
Il lungo viaggio verso la notte” è un’opera teatrale trasportata al cinema per la gioia di Katharine Hepburn che così poteva avere per le mani pane per i suoi denti. I personaggi sono solo 4, una famiglia che si ritrova e che si rinfaccia le cose, si racconta le cose, si scopre, si allontana e si riavvicina. È uno di quei drammoni familiari in cui quando un personaggio dice qualcosa per ferire gli altri, ti tiri i piedi dall’imbarazzo. Si segue naturalmente volentieri perché i 4 attori sono tutti di primo livello. Oltre alla Hepburn c’è il veterano Ralph Richardson, c’è Jason Robards e c’è Dean Stockwell che era una baby star a fine anni ’40 e che è riuscito ad avere una lunghissima carriera. Nei primi anni ’60 Stockwell sembra quasi il fratello minore di James Dean. Pare che sul set facesse freddissimo per cui Stockwell si aiutava con l’alcool, al che la Hepburn era indignata, ma quando lo venne a sapere gli regalò una coperta.
Sono ben 289 i titoli che ho visto, con 57 a cui ho dato almeno 8. I miei preferiti in assoluto sono 8 e mezzo e gli Uccelli di Hitchcock, ma scrivo 2 righe su altro.
Blow job” di Andy Warhol è una specie di documentario in cui vediamo il volto di un ragazzo e le espressioni che fa mentre fa sesso. I film di Andy Warhol per me sono veramente dei relitti di altri tempi. Certo negli anni ’60 Warhol era uno degli artisti di prima categoria, ma se parliamo dei suoi film e dei suoi documentari, non dei dipinti allora scusate un attimo. Ne ho visti un sacco e sinceramente non me ne importa niente se faccio la figura di chi non ha gusto o e non ne capisce, ma li trovo orribili, una lotta testa a testa con quelli di John Lennon e Yoko Ono, se è per questo. Mi volevo togliere lo sfizio di dirlo.
Il servo” di Losey, invece qui si ragiona, c’è Dirk Bogarde che entra a servizio nella casa di una coppia che ha i suoi alti e bassi. “Sì signore, certo signore, come desidera signore”. Col tempo, studiata bene la situazione e i caratteri dei padroni le cose cominciano a cambiare. “Se proprio crede signore, come meglio crede signore, appena riesco signore”. Più la coppia scoppia più Bogarde inizia ad avere la meglio nel suo braccio di ferro psicologico col padrone e i ruoli fatalmente si invertono. Bogarde si mette bello comodo in poltrona, e che sia il padrone a mettergli le pantofole, adesso. Questo personaggio è rimasto come forse il più memorabile dell’attore inglese prima della fase Visconti.
La ballata del boia” di Berlanga è il film che mi ha fatto dire “ok mi piace Nino Manfredi”. Per me fino a qualche anno fa era solo Mastro Geppetto, non è colpa mia. Invece negli anni ’60 Manfredi incarna l’uomo medio italiano meglio di chiunque altro. Tognazzi era uomo virile e dai grandi appetiti, Gassman era esuberante e pieno di cazzimma, Mastroianni era sensuale e fatalista, invece i ruoli di Manfredi erano quelli di persone che subiscono gli eventi, che subiscono il rapporto di coppia, che devono ingegnarsi per venire a capo delle cose. Era possibile immedesimarsi in Manfredi. In più era dotato di grande talento comico, anche nei ruoli tragici bastavano due espressioni per farti sorridere anche quando gli capitava di tutto, come in questo caso, in cui sposa una giovane il cui padre è un boia e per tradizione tocca al figlio ereditare il mestiere del genitore, quindi da un giorno all’altro Manfredi ora deve svolgere le esecuzioni dei detenuti, anche se non ha il pelo sullo stomaco. Divertente.
I gigli del campo” è uno dei tanti film degli anni ’60 con Sidney Poitier che si afferma come icona culturale assoluta. Questa storia semplice vede Poitier giungere per caso nei pressi di un piccolo convento. La madre superiora convince Poitier a lavorare per loro, hanno intenzione di ristrutturare un po’, ma Poitier aveva ben altri programmi. Alla superiora non interessa un bel niente dei programmi di Poitier perché se è lì, vuol dire che Dio l’ha voluto lì. Ne vengono fuori tanti dialoghi divertenti, Poitier fa la sua espressione come per dire “che pazienza che ci vuole con questa”, la superiora Lilia Skala è bravissima e in tutto ciò Poitier si affeziona alle suore e trova anche il suo scopo nella vita.
Nella prima metà degli anni ’60 la tv era ormai nelle case di tutti gli italiani, i quali amavano gli sceneggiati, Canzonissima, Mike Bongiorno e il telegiornale. Abbondano i documentari che mostrano i vari aspetti dell’Italia del boom, un Italia ancora molto eterogenea ma per questo tanto interessante da raccontare. Si possono trovare in giro tanti documentari come “Fazzoletti di terra” in cui due contadini si costruiscono le loro terrazze per coltivare sollevando una a una delle grosse pietre a mano. Una vita passata a spezzarsi la schiena. Poi ci sono le interviste sui temi d’attualità ad esempio “In Italia si chiama amore”, e i docu geografici che mostrano le costruzioni di dighe, dei tralicci per la corrente, di sopraelevate e autostrade, che io trovo assolutamente affascinanti. Andavano poi i cosiddetti Mondo film, che erano documentari su temi scabrosi, in genere erotismo e pornografia (tipo “Mondo di notte”, ma affrontavano anche altri temi, per esempio era scioccante “Mondo cane”. Per quanto riguarda gli sceneggiati della prima metà degli anni ’60 vanno citati almeno “La cittadella”, “Il mulino del Po” e “una tragedia americana”.
Il 1964 è un altro anno strabiliante per me. Ho visto 372 titoli tra film, corti, documentari, serie tv. Ho dato 8 o più a 65 di questi. Questo è l’anno della famiglia Addams e di Vita da Strega, è quello in cui parte la serie di Angelica e va di moda Sellers, Ursula Andress, Julie Andrews, Louis de Funes e Gianni Morandi. Bette Davis e Joan Crawford si dedicano al mystery con sfumature horror e diventano famose le sorelle Dorleac: una morirà giovanissima, l’altra ancora oggi è conosciuta in tutto il mondo come Catherine Deneuve. Antonioni gira il suo primo e bellissimo film a colori, Connery è alle prese con Goldfinger prima, con la Lollo e con Hitchcock poi, e la rana in Spagna gracida in campagna. Trionfo per i primi spaghetti western e per Leone, emerge la Sandrelli mentre in declino Doris Day. Classico dei classici per Loren-Mastroianni in “Matrimonio all’Italiana”. Insomma un anno di infinite squisitezze.
Seven up!” è un’idea molto interessante: si tratta di documentare la vita di alcuni ragazzi a distanza di 7 anni. Il primo documentario esce quindi nel 1964, il secondo poi nel 1970 (14 anni), poi 1977 (21), 1984 (28), 1991 (35), 1998 (42), 2005 (49), 2012 (56) e 2019 (63 up). Con la regia di Apted, attraverso le interviste vediamo cosa è successo nelle vite di queste persone.
La caccia” di Manoel de Oliveira regista portoghese morto a 106 anni, è un corto in cui due amici decidono appunto di andare a caccia, ma senza fucili, così niente di male può succedere. Quando si dice il caso: uno finisce nelle sabbie mobili, e sta all’altro amico escogitare il modo per salvarlo.
La donna di sabbia” di Hiroshi Teshigahara è un Thriller nel quale un entomologo va a caccia di insetti in una zona desertica e finisce in una fossa nella quale c’è una capanna con una donna, che trascorre la vita a spalare sabbia, come in un supplizio di Tantalo, ogni santo giorno, per evitare di essere sepolta. L’entomologo è stato intrappolato lì affinché possa contribuire al lavoro della donna e trascorrere con lei il resto della vita. Come un insetto in trappola, l’uomo cerca in tutti i modi di scappare.
“L’uomo del banco dei pegni” è un film di Lumet con Rod Steiger, due garanzie insomma. C’è un ebreo che lavora in un banco dei pegni. Trascorre la sua vita a valutare gli oggetti che gli porta la gente, privato ormai di ogni emozione. Il suo giovane commesso non è niente per lui, i suoi clienti non sono niente per lui. Osserva gli oggetti, li stima al ribasso, ci mette l’etichetta e così passa la giornata. C’è una donna che prova a mostrargli segnali d’affetto: non è niente per lui. Quest’uomo respira, ma non è vivo. Pare che fosse uno dei ruoli preferiti da Steiger, attore dalle scelte molto coraggiose che negli anni ’60 spesso lavora con registi italiani, anche in piccole produzioni. Il film è pieno di sentimenti da scavare in profondità, che esplodono con violenza nella parte finale.
Zorba il greco” è l’amicizia improbabile tra Anthony Quinn e Alan Bates. Quinn è Zorba, che non ha paura di niente e si butta a capofitto nella vita e nelle esperienze. A lui la gente piace, ci parla, ci ride e ci beve, si fa anche i fatti degli altri ma è generoso se serve, e comunque manda avanti la sua vita. È estroverso al 100% ed è un personaggio interessante interpretato magnificamente da Anthony Quinn, attore dalla lunga carriera. Alan Bates è gentile, preciso, riservato, discreto, riflessivo. Non si lancia, chiede permesso, è un tantino represso ma è un buon amico e una brava persona. Quinn adotta Bates e gli cambia la vita. Finiscono per conoscere una donna sola che è Lila Kedrova, che vive nel passsato. Mostra le gambe, si veste coi pizzi, finge una felicità che non possiede più, si comporta da adolescente. La Kedrova cerca ancora la vita e Quinn la accontenta. Questi personaggi così diversi raccontano una storia interessante. Memorabile la morte della Kedrova, con le vecchie del paese che vanno a saccheggiare la casa. Bates è uno degli attori più sottovalutati degli anni ’60 e ’70.
Un giorno di terrore” è il titolo italiano di “Lady in a cage”, che forse è meglio, si tratta di Olivia de Havilland, che è una scrittrice che ha avuto un incidente e quindi è costretta temporaneamente alla sedia a rotelle, quindi si muove nella sua bella casa grazie a un ascensore che la porta dal piano delle camere al soggiorno e alla cucina. Il figlio va via per il fine settimana, ma represso dalla madre ha propositi suicidi, ebbene Olivia resta sola in casa. Purtroppo per lei va via la corrente quando l’ascensore è a metà, e così resta sospesa. Salire non può, scendere non può, saltare nemmeno, arrampicarsi non se ne parla. Suona l’allarme, ma nessuno sente. Non esistevano mica gli smartphone, qui si rischia di restare in ascensore molto, molto a lungo. Succede quindi che un ubriacone entra in casa e sotto gli occhi impotenti della de Havilland pensa bene di accumulare un po’ di refurtiva. Non contento, va a chiamare altri suoi amici, più delinquenti e spregevoli che mai. Capitanati da James Caan, questi teppisti metteranno a ferro e fuoco la casa della de Havilland che guarda impotente quello che accade. Bellissimo e dimenticato titolo che vale la pena riscoprire in onore della mega star di recente morta alla bella età di 104 anni.
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Let's settle this...

Is Sam's Town London or Vegas? I know that technically it's intended to be wherever you want it to be ("a spiritual home, a place where things are better there" RAH) but I've seen quite a few posts on this sub where people quite literally take it to be one or the other.
For me it's got to be Vegas. Not just because of the casino but the way in which the song describes the band's frustrations of being labelled as a British indie copycat and how they shook that stereotype and embraced the Americana (and what's more American than Vegas?)
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What is the best way for me to get started in Dead Rising & Dead Rising 2 (both versions)?

I've begun playing through the Wide-Open Zombie Action classic, Dead Rising, which I've bought alongside both versions of Dead Rising 2.
I'm having difficulty getting started, as I don't think I'm able to save the survivors or crack the case/solve the mystery behind the games' plot at the same time, leading to massive confusion.
Can any series veterans tell me how I get started?
submitted by BennytehBeaver to deadrising [link] [comments]

Non ne posso più di vedere americani che forzano le loro dinamiche sugli altri

Allora, mettiamo in chiaro che non voglio assolutamente generalizzare. Ma una cosa tipica americana che ho notato, e che mi fa ammattire, è il dare per scontato che tutto il mondo funzioni o DEBBA funzionare come gli US of fucking A.
Non mi sono mai considerato bianco, né "di colore" (che, cari americani, vuol dire nero in Italia), e anzi la distinzione su base razziale mi fa alquanto ribrezzo, e ancora di più la divisione su base bianco/non bianco. Soprattutto come studente di scienze naturali che si è sentito ripetere più volte dai professori che le razze umane non esistono, biologicamente.
Sono italiano e voglio essere considerato come tale, e lo stesso vale per moltissimi altri italiani che conosco. Ma all'improvviso arriva un qualsiasi newyorkese che pensa di poter decidere per noi cosa siamo? Cos'è, il 1920?
Fanno un gran casino perché "italians are white" o "italians are poc" ma sono sempre gli americani che ne parlano, e a nessuno di loro frega niente delle opinioni dei diretti interessati. Anzi, ci prendono in giro se ci lamentiamo.
E non vale solo per questioni razziali, o per questioni italiane. Vedo in continuazione degli americani che pensano di poter imporre il loro punto di vista su paesi con un passato ed una cultura completamente diversa.
Vedo americani bianchi waspissimi che si offendono perché un personaggio giapponese disegnato da giapponesi ha i capelli biondi. Vedo americani che gioiscono per la persecuzione dei copti, e che tirano fuori statistiche AMERICANE quando gli fanno notare che nei paesi dove i copti sono oppressi i cristiani sono letteralmente una minoranza. Ho visto americani di origini vagamente indiane che parlavano male di indiani nati e cresciuti in India perché loro dicevano "hey, il sari è letteralmente un vestito, non ha caratteristiche religiose, non è appropriazione culturale se Lady Gaga ne indossa uno".
È letteralmente un caso di burden of the white man, eccetto che qui è burden of the american. Pensano di essere gli unici evoluti? Pensano di essere gli unici illuminati che hanno capito che il razzismo o che so io è sbagliato? Pensano che le nostre culture siano solo una menzogna globale, che a Civitavecchia, Lucca e Bari parliamo tutti inglese e che il 13% della popolazione mondiale sia africa- ehm, afroamericana?
Post forse un po' delirante, e mi scuso, ma penso che sia l'ora di dirlo...
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What scene that really disturbed you? Not your first horror movie scene but when you felt that pit of fear in your stomach?

For me I think it had to have been the Pen-scene from Casino, the shootout from Heat or seeing the Omaha beach scene from SPR for the first time. In no particular order they were my first run in with violence on film that was treated realistically, I'd see Boys Don't Cry later on and that was disturbing but it wasn't the first scene that really got me.
Anyways I think Heat as a kid I remember seeing the shootout, Val Kilmer firing at the cops on each side and as a 4 year old I thought that it was disturbing seeing the cops just die and lose like ordinary people, and seeing the skilled bad guy just win, my mom was watching it and I sat down to watch that scene and I just remember thinking about how "wow the bad guys win" as the cops all kept going down. Plus I'm sure the gunsounds had an affect on me, I remember being very emotionally overwhelmed, not crying or anything just angry that they couldn't hit or kill Val Kilmer or Deniro. And one by one each cop was going down. My childmind of "Good vs bad" was being rocked and I couldn't handle it.
Then there's Saving Private Ryan, when that ramp dropped, and I saw the bullet hole and the blood, I knew there was something different. Every shootout I was shown, every little bit of violence I saw before, all of it merited in some way, no consequences, no cause and effect, people get knocked over, no bullet wounds, or maybe it's fun to watch. But not Saving Private Ryan. Suddenly bullets tear through these men who they familiarize us with, giving us the cliche war movie looking types, mixing in with our heroes, adding a "anybody" can die feeling. And that's what happens. It's gore, it's fear, it's people screaming for their mom's as they realize they'll never go home, they'll die on this beach in fear and terror. Ignored by your friends and condemned by the enemy.
The violence had actual change to it, and not only that, it was very random, it didn't care, people who lived and who died was just a simple matter of standing here at this moment or leaning here at that moment. People were safe one second then a bullet would hit them in the head randomly and they were gone forever. Explosions left people without limbs, screaming, blood everywhere, there was no fire to just make it all go away in a stylistic fashion, and when we do see fire it's another horrific reality of being a flamethrower on that beach, the paranoia of carrying that thing, some soldiers unwillingly due to not being able to get the strap off before reaching the sea-wall.
Casino's pen scene, Scorsese can just film violence like you're in the room with the people, and the way he has the setting be a normal place, a bar, or diner, a place we've all seen before in Americana gothic fashion, it's a party scene and normal and with a foil exchange between a considerate Deniro and a very unlucky fake tough guy, the way Pesci just takes the pen, Scorsese doesn't hesitate on making us know what we're seeing until it's going down, the stabbing and screaming of the man as more and more holes are made in his throat causing him to gurgle and whistle through the holes in his neck. The close ups that let us know how deep this is. The randomness of the stabbing. The sadism of Nick Santoro as he calls him a little girl as he reverts back to a child as he cries thinking he's about to die. It's like a stabbing in prison or something, you feel like you don't want to be there but you're in the cellblock with the other inmates and this horrible shit is something I have to witness.
The music doesn't cut, it adds to the reality, the same way a tv doesn't stop playing, something terrible happens and there's always something that tells us that normality is still going on for someone somewhere. I remember Scorsese saying he remember seeing violent things and hearing a radio from an open window and how it was so surreal, and him seeing The Public Enemy (1931) where James Cagney's family thinks he's coming home but he's dead and his body is being dumped and as they discover his body the happy music they put on for him doesn't stop playing. This realization is what inspired him to start using counterpoint music to express some horrific moments in his films.
But yeah I was just thinking.
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Jazz, una guida all'ascolto - Puntata 1

Leggete questo post quando avete un po’ di tempo e uno stereo decente (o un paio di cuffie) a disposizione, dato che c’è parecchio da ascoltare. O meglio, il brano è uno solo, ma andrà riascoltato diverse volte. Quando siete pronti, possiamo iniziare.
Il jazz è un bel casino. Un sacco di note, un sacco di dissonanze, non si capisce con che strumenti si debba suonare, non si capisce se sia musica scritta o improvvisata, se vada ascoltata ballando o sorseggiando vino costoso. Insomma, un po’ perché è di suo una musica complessa, un po’ per i vari luoghi comuni e le abitudini di ascolto sbagliate, per un principiante non è semplice apprezzare questa musica. Se però tutto ciò non vi intimidisce, posso provare a darvi con questa guida qualche punto di riferimento.
Iniziamo da qui: YouTube - Spotify. Il pezzo si chiama Searchin’, di Jazzmeia Horn, album Love and Liberation del 2019. Jazzmeia è una giovane cantante americana, ha una voce spaventosa, e mi torna comoda come punto di partenza perché suona un jazz molto tradizionale. Fatevi un primo ascolto, poi tornate a leggere. Solo una precisazione (e questo varrà sempre): l’ascolto richiede il 100% della vostra attenzione, non leggete o fate altro nel frattempo.
Fatto? Molto bene, spero vi sia piaciuta, a me piace moltissimo. Ora, un ascoltatore attento, pur se totalmente inesperto, dovrebbe aver notato almeno un paio di cose.
Fin qui direi che ci siamo. Se non siete convinti di questi tre primi punti, riascoltate e verificateli.
Immagino che a questo punto i primi e gli ultimi 30 secondi del pezzo, cioè quelli cantati con le parole, siano abbastanza comprensibili a chiunque. Ciò che accade in mezzo, invece, è un po' più complesso. Usiamo allora proprio le parole come appiglio per la comprensione, eccole qui. Riascoltate i primi 30 secondi leggendo il testo.
I kept searching For someone who could turn my life around, but he never noticed I saw a fella' who had seemed to have wanted A girl like me, but he was too scared to show it I kept prancing and hoping he would like the moves I made, but he never noticed Never enough to find my true love, I keep on trying, but time is flying.
Ora riascoltate di nuovo, e provate a canticchiarlo. Non c’è bisogno né di farlo a voce alta, né di essere intonati, però cercate di farvi entrare in testa la melodia. È importante giuro, fatelo.
Fatto? Molto bene, quello che avete appena cantato è un chorus (in realtà due, dato che si ripete due volte). Il chorus è l’unità strutturale del brano: come nei pezzi pop di oggi si alternano strofa e ritornello, nel jazz tradizionale esiste un’unica sezione che viene ripetuta per tutto il brano.
Immagino che starete obiettando che Jazzmeia canta il chorus solo all’inizio e alla fine, e in mezzo no: giustissimo. Il punto è che anche quando non lo canta, gli strumenti che accompagnano continuano a suonare la stessa struttura armonica sulle stesse battute. Quindi, essenzialmente, cambia la melodia che sta sopra, ma sotto c'è un unico ritornello ripetuto dall'inizio alla fine del brano senza soluzione di continuità. Per chi riesce e vuole contare le battute, il chorus di Searchin’ ne dura 16.
Ecco quindi cosa succede in questo brano.
Adesso vi sarà chiaro lo scopo di questa analisi: se continuate ad avere in testa dall’inizio alla fine la melodia iniziale, avete un punto di riferimento ideale per non perdervi durante i soli. Per inciso, questo è esattamente ciò che fanno i musicisti. Cioè anche per loro, mentre accompagnano e improvvisano, sentono la melodia implicita, e questo viene sempre riflesso (più o meno chiaramente) in ciò che suonano.
È il momento quindi di riascoltare, anche un paio di volte, canticchiandovi in testa la melodia.
Fatto? Se siete riusciti a seguire la struttura, significa che ormai siete in grado di orientarvi da soli. Aggiungo che questo schema melodia-soli sul chorus-melodia è la struttura usata nel 90% del jazz di stampo tradizionale, dal bebop (anni ‘40 circa) a oggi. Il motivo è semplice: questa struttura ciclica è funzionale all'improvvisazione del solista di turno, perché gli consente di decidere sul momento la durata del suo solo.
Ora non mi resta che fare alcune osservazioni sparse sul brano.
Credo di aver detto tutto ciò che avevo da dire su questo pezzo, complimenti alla vostra pazienza se mi avete seguito fin qui. Se vi è piaciuto, vi consiglio di sentirvi i due album interi di Jazzmeia: A Social Call (2017) e Love and Liberation (2019). Dopo Searchin' il mio preferito è sicuramente The Peacocks (pezzo composto da Bill Evans, mica pizza e fichi) nel primo album. Non è necessario fare tutto questo lavoro di analisi per ogni brano che si ascolta, chiaramente, ma è necessario essere concentrati e attenti, questo sì.
Se avete consigli, correzioni o critiche, ogni feedback è ben accetto. Vi ringrazio per l'attenzione, e alla prossima.
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Patente USA

Ciao sono cittadino italiano e ho la residenza a Vicenza, sono stato per un po' in California e ho preso la patente americana ( tutto ciò con la residenza sempre in Italia) posso guidare con questa patente o devo rifare tutto? Ho letto che si più usare una patente estera solo se si è residenti da non più di un anno ma io sono residente in Italia da tutta la vita come funziona tutto sto casino?
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Turner Classic Movies (U.S.) Schedule For The Month Of September, 2020 (All Airtimes E.S.T)

Tuesday, September 01, 2020
(1:15 AM) (drama) L'Eclisse (1962/126 m/Michelangelo Antonioni)
(3:30 AM) (western) Lost Command (1966/129 m/Mark Robson)
(6:00 AM) (suspense) The 39 Steps (1935/87 m/Alfred Hitchcock)
(7:45 AM) (suspense) The Lady Vanishes (1938/96 m/Alfred Hitchcock)
(9:30 AM) (suspense) Foreign Correspondent (1940/121 m/Alfred Hitchcock)
(11:45 AM) (suspence) Suspicion (1941/99 m/Alfred Hitchcock)
(1:27 PM) (short) Men In Fright (1938/11 m/George Sidney)
(1:45 PM) (suspense) Stage Fright (1950/110 m/Alfred Hitchcock)
(3:45 PM) (suspense) Dial ‘M’ For Murder (1954/105 m/Alfred Hitchcock)
(5:32 PM) (short) Third Dimensional Murder (1941/7 m/George Sidney)
(5:45 PM) (suspense) The Wrong Man (1956/105 m/Alfred Hitchcock)
(7:34 PM) (short) Wrong Way Butch (1950/10 m/David Barclay)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 1) (2019/60 m/Mark Cousins)
(10:45 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 1) (2019/60 m/Mark Cousins)
Wednesday, September 02, 2020
(12:00 AM) (premiere) Olivia (1951/96 m/
(1:45 AM) (premiere) Sleepwalking Land (2008/96 m/Teresa Prata)
(3:30 AM) (premiere) Seven Beauties (1975/117 m/Lina Wertmuller)
(5:30 AM) (premiere) Je tu il Elle (1975/86 m/Chantal Akerman)
(6:57 AM) (short) Over The Counter (1932/18 m/Jack Cummings)
(7:15 AM) (premiere) Madchen In Uniform (1931/89 m/Leontine Sagan)
(9:00 AM) (comedy) La Cienaga (2001/101 m/Lucrecia Martel)
(11:00 AM) (musical) Yolanda and the Thief (1945/108 m/Vincente Minnelli)
(1:00 PM) (musical) Call of the Flesh (1930/100 m/Charles Brabin)
(2:45 PM) (musical) Fiesta (1947/102 m/Richard Thorpe)
(4:30 PM) (musical) Pan-Americana (1945/84 m/John H. Auer)
(6:00 PM) (romance) Latin Lovers (1953/104 m/Mervyn Le Roy)
(8:00 PM) (musical) Sweet Charity (1969/148 m/Bob Fosse)
(10:45) (drama) All That Jazz (1979)
Thursday, September 03, 2020
(1:00 AM) (musical) Cabaret (1972/124 m/Bob Fosse)
(3:15 AM) (premiere) Star ‘80 (1983/103 m/Bob Fosse)
(5:15 AM) (documentary) A Well Spent Life (1971/44 m/Les Blank)
(6:00 AM) (suspense) The Window (1949/73 m/Ted Tetzlaff)
(7:15 AM) (comedy) Having Wonderful Time (1938/70 m/Alfred Santell)
(9:30 AM) (drama) Picnic At Hanging Rock (1975/107 m/Peter Weir)
(10:30 AM) (adventure) Corvette Summer (1978/105 m/Matthew Robbins)
(12:15 PM) (romance) A Stolen Life (1946/107 m/Curtis Bernhardt)
(2:15 PM) (drama) The Southerner (1945/93 m/Jean Renoir)
(4:00 PM) (comedy) The Seven Year Itch (1955/104 m/Billy Wilder)
(5:49 PM) (short) Mackinac Island (1944/9 m/James A. FitzPatrick)
(6:00 PM) (romance) Summer of ‘42 (1971/104 m/Robert Mulligan)
(9:00 PM) (drama) The Story of Louis Pasteur (1936/86 m/William Dieterle)
(9:45 PM) (drama) The Story of Dr. Jenner (1939/10 m/Henry K. Dunn)
(10:00 PM) (drama) Sister Kenny (1946/116 m/Dudley Nichols)
Friday, September 04, 2020
(12:01 AM) (short) See Your Doctor (1939/8 m/Basil Wrangell)
(12:15 AM) (drama) Dr. Ehrlich's Magic Bullet (1940/103 m/William Dieterle)
(2:15 AM) (drama) Arrowsmith (1931/99 m/John Ford)
(4:15 AM) (adventure) Yellow Jack (1938/83 m/George B. Seitz)
(5:47 AM) (short) Her Honor, The Nurse (1956/8 m/Harry W. Smith)
(6:00 AM) (drama) Madame Curie (1943/124 m/Mervyn Le Roy)
(9:15 AM) (documentary) Hollywood: The Dream Factory (1972/51 m/Mark Woods)
(9:30 AM) (comedy) Some Like It Hot (1959/122 m/Billy Wilder)
(11:45 AM) (comedy) The Apartment (1960/125 m/Billy Wilder)
(2:00 PM) (comedy) The Prisoner of Second Avenue (1974/98 m/Melvin Frank)
(4:00 PM) (comedy) The Sunshine Boys (1975/111 m/Herbert Ross)
(6:00 PM) (comedy) The Goodbye Girl (1977/111 m/Herbert Ross)
(8:00 PM) (premiere) The T.A.M.I. Show (1964/113 m/Steve Binder)
(10:15 PM) (documentary) Let The Good Times Roll (1973/99 m/Sidney Levin)
Saturday, September 05, 2020
(12:00 AM) (documentary) Elvis: That’s The Way It Is (1970/95 m/Denis Sanders)
(1:45 AM) (documentary) Divine Madness (1980/94 m/Michael Ritchie)
(3:30 AM) (documentary) ABBA: The Movie (1977/97 m/Lasse Hallstrom)
(5:30 AM) (documentary) MGM Parade Show #4 (1955/26 m/?)
(6:00 AM) (crime) The Biggest Bundle Of Them All (1968/108 m/Ken Annakin)
(9:00 AM) (premiere) MGM CARTOONS: The Chump Champ (1950/7 m/Fred [Tex] Avery)
(9:09 AM) (documentary) Game Warden (1955/8 m/Harry W. Smith)
(9:18 AM) (short) Seattle: Gateway To The Northwest (1940/9 m/?)
(9:28 AM) (drama) Isle Of Fury (1936/60 m/Frank McDonald)
(9:30 AM) (serial) TERRY AND THE PIRATES: The Fatal Mistake (1940/17 m/?)
(10:00 AM) (premiere) POPEYE: Fleets of Stren'th (1942/7 m/Dave Fleischer)
(10:08 AM) (adventure) Elephant Stampede (1951/71 m/Ford Beebe)
(11:30 AM) (short) Frontier Days (1945/17 m/Jack Scholl)
(12:00 PM) (suspense) The Prize (1963/135 m/Mark Robson)
(2:30 PM) (western) Stagecoach (1939/96 m/John Ford)
(4:15 PM) (drama) East Of Eden (1955/118 m/Elia Kazan)
(6:30 PM) (comedy) Bananas (1971/82 m/Woody Allen)
(8:00 PM) (documentary) The Kids Are Alright (1979/109 m/Jeff Stein)
(10:00 PM) (premiere) Shine A Light (2008/122 m/Martin Scorsese)
Sunday, September 06, 2020
(12:15 AM) (documentary) The Decline of Western Civilization (1981/100 m/Penelope Spheeris)
(2:15 AM) (documentary) The Decline of Western Civilization, Part II: The Metal Years (1988/93 m/Penelope Spheeris)
(4:00 AM) (documentary) This Is Elvis (1981/102 m/Malcolm Leo)
(6:00 AM) (musical) On An Island With You (1948/108 m/Richard Thorpe)
(9:00 AM) (musical) Easy To Love (1953/96 m/Charles Walters)
(10:00 AM) (crime) Night Editor (1946/67 m/Henry Levin)
(12:00 PM) (romance) The Enchanted Cottage (1945/92 m/John Cromwell)
(1:45 PM) (drama) The V.I.P.s (1963/119 m/Anthony Asquith)
(4:00 PM) (romance) Crossing Delancey (1988/97 m/Joan Micklin Silver)
(6:00 PM) (romance) To Have and Have Not (1944/100 m/Howard Hawks)
(8:00 PM) (documentary) The Song Remains The Same (1976/138 m/Peter Clifton)
(10:30 PM) (documentary) Jimi Hendrix (1973/102 m/Joe Boyd)
Monday, September 07, 2020
(12:15 AM) (premiere) Jimi Plays Monterey (1986/49 m/D.A. Pennebaker)
(1:15 AM) (premiere) Shake!: Otis At Monterey (1987/19 m/D.A. Pennebaker)
(1:45 AM) (premiere) Fade To Black (2004/110 m/Patrick Paulson)
(5:30 AM) (premiere) Say Amen, Somebody: The Good News Musical (1982/101 m/George T. Nierenberg)
(7:15 AM) (premiere) A Poem Is A Naked Person (1977/90 m/Les Blank)
(9:00 AM) (premiere) Louie Bluie (1985/61 m/Terry Zwigoff)
(12:15 PM) (premiere) Big Time (1988/87 m/Chris Blum)
(2:00 PM) (documentary) Don’t Look Back (1967/96 m/D.A. Pennebaker)
(4:00 PM) (premiere) Neil Young: Heart Of Gold (2006/104 m/Jonathan Demme)
(6:00 PM) (premiere) Festival (1967/98 m/Murray Lerner)
(8:00 PM) (documentary) Monterey Pop (1969/79/D.A. Pennebaker)
(9:30 PM) (documentary) Woodstock: The Director’s Cut (1970/224 m/Michael Wadleigh)
Tuesday, September 08, 2020
(1:30 AM) (musical) A Hard Day’s Night (1964/87 m/Richard Lester)
(3:15 AM) (documentary) Go Go Mania (1965/70 m/Frederic Goode)
(4:45 AM) (documentary) Robert Osborne’s 20th Anniversary Tribute (2015/47 m/?)
(6:00 AM) (crime) Armored Car Robbery (1950/68 m/Richard Fleischer)
(7:30 AM) (crime) The Asphalt Jungle (1950/112 m/John Huston)
(9:30 AM) (crime) High Sierra (1941/100 m/Raoul Walsh)
(11:15 AM) (crime) Rififi (1954/118 m/Jules Dassin)
(1:30 PM) (crime) The League Of Gentlemen (1960/114 m/Basil Dearden)
(3:45 PM) (comedy) Ocean’s 11 (1960/127 m/Lewis Milestone)
(6:00 PM) (suspense) Jack of Diamonds (1967/108 m/Don Taylor)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 2) (2019/61 m/Mark Cousins)
(9:15 PM) (premiere) El Camino (1963/95 m/Ana Mariscal)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode #2) (2019/61 m/Mark Cousins)
Wednesday, September 09, 2020
(12:30 AM) (premiere) Lovely & Amazing (2001/91 m/Nicole Holofcener)
(2:15 AM) (premiere) Wanda (1970/103 m/Barbara Loden)
(4:15 AM) (premiere) The Watermelon Woman (1995/85 m/Cheryl Dunye)
(6:00 AM) (premiere) In The Empty City (2004/90 m/Maria Jopo Ganga)
(7:45 AM) (silent) The Adventures of Prince Achmed (1926/66 m/Lotte Reiniger)
(9:15 AM) (premiere) Entre Nous (1983/111 m/Diane Kurys)
(11:30 AM) (drama) Jeopardy (1953/69 m/John Sturges)
(1:00 PM) (suspense) Cry Terror! (1958/96 m/Andrew L. Stone)
(3:15 PM) (drama) The Devil Makes Three (1952/90 m/Andrew Marton)
(5:00 PM) (suspense) Dial 1119 (1950/75 m/Gerald Mayer)
(6:30 PM) (suspense) Beyond A Reasonable Doubt (1956/80 m/Fritz Lang)
(8:00 PM) (comedy) Mr. Belvedere Goes To College (1949/83 m/Elliott Nugent)
(11:30 PM) (premiere) Blondie Goes To College (1942/77 m/Frank R. Strayer)
Thursday, September 10, 2020
(1:00 AM) (musical) She's Working Her Way Through College (1952/101 m/Bruce Humberstone)
(3:00 AM) Start Cheering (1938/78 m/Albert S. Rogell)
(4:30 AM) Strictly Dynamite (1934/71 m/Elliott Nugent)
(6:00 AM) (drama) Mademoiselle Fifi (1944/69 m/Robert Wise)
(7:15 AM) (suspense) The Curse of the Cat People (1944/70 m/Gunther V. Fritsch and Robert Wise)
(8:30 AM) (horror) The Body Snatcher (1945/78 m/Robert Wise)
(10:00 AM) (suspense) Mystery In Mexico (1948/66 m/Robert Wise)
(11:15 AM) (western) Blood On the Moon (1948/?/Robert Wise)
(1:00 PM) (crime) Born To Kill (1947/92 m/Robert Wise)
(2:45 PM) (drama) The Set-Up (1949/72 m/Robert Wise)
(4:15 PM) (romance) So Big (1953/102 m/Robert Wise)
(6:00 PM) (drama) Somebody Up There Likes Me (1956/113 m/Robert Wise)
(9:00 PM) (war) So Proudly We Hail (1943/126 m/Mark Sandrich)
(10:15 PM) (comedy) MAS*H (1970/116 m/Robert Altman)
Friday, September 11, 2020
(12:30 AM) (war) The Story of Dr. Wassell (1944/136 m/Cecil B. DeMille)
(3:00 AM) (war) Cry ‘Havoc’ (1944/97 m/Richard Thorpe)
(4:45 AM) (war) Battle Circus (1953/90 m/Richard Brooks)
(6:30 AM) (short) Angel Of Mercy (1939/10 m/Edward L. Cahn)
(6:45 AM) (drama) The White Angel (1936/92 m/William Dieterle)
(9:30 AM) (comedy) Bud Abbott and Lou Costello In Hollywood (1945/83 m/S. Sylvan Simon)
(10:00 AM) (comedy) Merton of the Movies (1947/82 m/Robert Alton)
(11:30 AM) (musical) Show Girl in Hollywood (1930/78 m/Mervyn Le Roy)
(1:00 PM) (comedy) Goldie Gets Along (1933/68 m/Malcolm St. Clair)
(2:15 PM) (musical) Talent Scout (1937/62 m/William Clemens)
(3:30 PM) (comedy) Pick A Star (1937/70 m/Edward Sedgwick)
(4:45 PM) (comedy) Boy Meets Girl (1938/86 m/Lloyd Bacon)
(6:15 PM) (comedy) Movie Crazy (1932/96 m/Clyde Bruckman)
(8:00 PM) (adventure) She (1965/106 m/Robert Day)
(10:00 PM) (adventure) Clash of the Titans (1981/118 m/Desmond Davis)
Saturday, September 12, 2020
(12:15 AM) (comedy) Casino Royale (1967/131 m/John Huston, et. al.)
(2:45 AM) (horror) Plan 9 From Outer Space (1959/78 m/Edward D. Wood, Jr.)
(4:15 AM) (drama) Reefer Madness (1936/66 m/Louis Gasnier)
(5:15 AM) (premiere) Sex Madness (1938/52 m/?
(6:15 AM) (comedy) A Slight Case Of Murder (1938/85 m/Lloyd Bacon)
(9:00 AM) (premiere) MGM CARTOONS: Droopy’s Double Trouble (1951/7 m/Fred [Tex] Avery)
(9:09 AM) (short) High Dive Kids (1956/8 m/?)
(9:18 AM) (short) Sitka and Juneau: A Tale of Two Cities (1940/9 m/?)
(9:28 AM) (drama) Daredevil Drivers (1938/60 m/B. Reeves Eason)
(9:30 AM) (serial) TERRY AND THE PIRATES: Pyre of Death (1940/17 m/?)
(10:00 AM) (premiere) POPEYE: Pip-Eye, Pup-Eye, Poop-Eye An' Peep-Eye (1942/6 m/Dave Fleischer)
(10:08 AM) (adventure) The Lion Hunters (1951/80 m/Ford Beebe)
(11:30 AM) (short) The Rear Gunner (1943/20 m/Ray Enright)
(12:00 PM) (crime) Double Indemnity (1944/108 m/Billy Wilder)
(2:00 PM) (drama) Birdman of Alcatraz (1962/149 m/John Frankenheimer)
(4:45 PM) (war) The Sand Pebbles (1966/179 m/Robert Wise)
(8:00 PM) (suspense) Out of the Past (1947/97 m/Jacques Tourneur)
(10:00 PM) (drama) Experiment Perilous (1944/91 m/Jacques Tourneur)
Sunday, September 13, 2020
(12:00 AM) (suspense) Danger Signal (1945/78 m/Robert Florey)
(1:30 AM) (drama) The China Syndrome (1979/122 m/James Bridges)
(3:45 AM) (horror) Coma (1978/113 m/Michael Crichton)
(6:00 AM) (comedy) See Here, Private Hargrove (1944/101 m/Wesley Ruggles)
(9:00 AM) (musical) Summer Stock (1950/109 m/Charles Walters)
(10:00 AM) (suspense) Danger Signal (1945/78 m/Robert Florey)
(11:30 AM) (comedy) The Whole Town’s Talking (1935/93 m/John Ford)
(1:15 PM) (drama) The Last Hurrah (1958/121 m/John Ford)
(3:30 PM) (drama) Sweet Bird Of Youth (1962/120 m/Richard Brooks)
(5:45 PM) (adventure) The Black Stallion (1979/117 m/Carroll Ballard)
(8:00 PM) (musical) Carmen Jones (1954/105 m/Otto Preminger)
(10:00 PM) (drama) Bright Road (1953/68 m/Gerald Mayer)
(11:30 PM) (musical) Sun Valley Serenade (1941/86 m/H. Bruce Humberstone)
Monday, September 14, 2020
(1:15 AM) (silent) The Ace of Hearts (1921/74 m/Wallace Worsley)
(6:00 AM) (musical) Playing Around (1930/66 m/Mervyn Le Roy)
(7:15 AM) (drama) Union Depot (1932/67 m/Alfred E. Green)
(9:30 AM) (drama) When In Rome (1952/78 m/Clarence Brown)
(10:00 AM) (drama) The Toast Of New York (1937/109 m/Rowland V. Lee)
(12:00 PM) (musical) Fashions of 1934 (1934/78 m/William Dieterle)
(1:30 PM) (suspense) Kind Lady (1935/76 m/George B. Seitz)
(3:00 PM) (romance) Sylvia Scarlett (1935/95 m/George Cukor)
(4:45 PM) (romance) Nobody Lives Forever (1946/100 m/Jean Negulesco)
(6:30 PM) (suspense) Cast a Dark Shadow (1955/83 m/Lewis Gilbert)
(8:00 PM) (short) Star Night At the Cocoanut Grove (1934/20 m/Louis Lewyn)
(8:00 PM) (short) A Night At The Movies (1937/10 m/Roy Rowland)
(8:00 PM) (comedy) The Pip From Pittsburg (1931/21 m/James Parrott)
(8:00 PM) (short) Movie Pests (1944/10 m/Will Jason)
(8:00 PM) (short) So You Want To Be A Detective (1948/11 m/Richard Bare)
(8:00 PM) (short) Los Angeles “Wonder City of the West” (1935/8 m/?)
(8:00 PM) (short) The Man In The Barn (1937/11 m/Jacques Tourneur)
(8:00 PM) (short) Smash Your Baggage (1932/9 m/Roy Mack)
(10:00 PM) (short) Asleep In The Feet (1933/19 m/Gus Meins)
(10:00 PM) (comedy) Top Flat (1935/19 m/William Terhune)
(10:00 PM) (short) The Bargain of the Century (1933/19 m/Charley Chase)
(11:15 PM) (short) You’re Telling Me (1932/19 m/Lloyd French)
(11:15 PM) (short) Call A Cop! (1931/20 m/George Stevens)
(11:15 PM) (short) Too Many Women (1932/19 m/Lloyd French)
(11:15 PM) (short) Air-Tight (1931/17 m/George Stevens)
Tuesday, September 15, 2020
(12:45 AM) (comedy) Buzzin’ Around (1933/20 m/Alfred J. Goulding)
(12:45 AM) (short) Whispering Whoopee (1930/21 m/James W. Horne)
(2:00 AM) (short) Women In Hiding (1940/22 m/Joseph Newman)
(2:00 AM) (short) Drunk Driving (1939/21 m/David Miller)
(2:00 AM) (short) The Public Pays (1936/18 m/Errol Taggart)
(3:15 AM) (short) His Silent Racket (1933/18 m/Charley Chase
(3:15 AM) (short) Girl Shock (1930/20 m/James W. Horne)
(3:15 AM) (short) Fallen Arches (1933/19 m/Gus Meins)
(3:15 AM) (short) The Chases of Pimple Street (1934/20 m/Charles Parrott)
(3:15 AM) (short) Four Parts (1934/18 m/Eddie Dunn)
(5:00 AM) (short) So You Want To Play The Piano (1956/10 m/Richard Bare)
(5:00 AM) (short) Apples To You! (1934/20 m/Leigh Jason)
(5:00 AM) (short) Zion: Canyon of Colour (1934/8 m/?)
(5:00 AM) (short) How To Sleep (1935/11 m/Nick Grindé)
(5:00 AM) (short) Double Talk (1937/11 m/Lloyd French)
(5:00 AM) (western) Pony Express Days (1940/20 m/B. Reeves Eason)
(5:00 AM) (comedy) Important Business (1944/11 m/Will Jason)
(5:00 AM) (short) The Black Network (1936/21 m/Roy Mack)
(5:00 AM) (short) And She Learned About Dames (1934/?/?)
(5:00 AM) (short) The Fabulous Fraud (1948/11 m/Edward L. Cahn)
(7:15 AM) (suspense) Man Hunt (1933/64 m/Irving Cummings)
(8:30 AM) (suspense) Nick Carter, Master Detective (1939/59 m/Jac ques Tourneur)
(9:45 AM) (suspense) Phantom Raiders (1940/70 m/Jacques Tourneur)
(11:00 AM) (suspense) Sky Murder (1940/72 m/George B. Seitz)
(12:15 PM) (suspense) Star Of Midnight (1935/90 m/Stephen Roberts)
(2:00 PM) (suspense) Miracles For Sale (1939/71 m/Tod Browning)
(3:15 PM) (suspense) Eyes In The Night (1942/80 m/Fred Zinnemann)
(4:45 PM) (suspense) The Hidden Eye (1945/69 m/Richard Whorf)
(6:00 PM) (suspense) Stage Fright (1950/110 m/Alfred Hitchcock)
(9:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 3) (2019/61 m/Mark Cousins)
(9:15 PM) (documentary) Harlan County, U.S.A. (1976/105 m/Barbara Kopple)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 3) (2019/61 m/Mark Cousins)
Wednesday, September 16, 2020
(12:30 AM) (drama) The Virgin Suicides (1999/97 m/Sofia Coppola)
(2:30 AM) (premiere) Loving Couples (1964/113 m/Mai Zetterling)
(6:30 AM) (premiere) 10 to 11 (2009/110 m/Pelin Esmer)
(9:30 AM) (comedy) Losing Ground (1982/86 m/Kathleen Collins)
(10:00 AM) (premiere) Strangers In Good Company (1990/101 m/Cynthia Scott)
(12:00 PM) (short) Wagon Wheels West (1943/17 m/B. Reeves Eason)
(12:30 PM) (western) Westward The Women (1951/116 m/William A. Wellman)
(2:45 PM) (western) Strange Lady In Town (1955/112 m/Mervyn Le Roy)
(4:45 PM) (western) Rachel and the Stranger (1948/93 m/Norman Foster)
(6:15 PM) (western) Cat Ballou (1965/96 m/Elliot Silverstein)
(8:00 PM) (musical) A Connecticut Yankee in King Arthur's Court (1949/107 m/Tay Garnett)
(10:00 PM) (premiere) Peggy Sue Got Married (1986/103 m/Francis Ford Coppola)
Thursday, September 17, 2020
(12:00 AM) (premiere) Repeat Performance (1947/93 m/Alfred Werker)
(1:45 AM) (drama) Turn Back the Clock (1933/79 m/Edgar Selwyn)
(3:15 AM) (adventure) The Boy and the Pirates (1960/84 m/Bert I. Gordon)
(5:00 AM) (romance) Berkeley Square (1933/88 m/Frank Lloyd)
(6:45 AM) (short) MGM Is On The Move! (1964/36 m/?)
(7:45 AM) (crime) Angel Face (1953/91 m/Otto Preminger)
(9:30 AM) (western) River of No Return (1954/91 m/Otto Preminger)
(11:15 AM) (suspense) Bunny Lake Is Missing (1965/107 m/Otto Preminger)
(1:15 PM) (drama) The Man with the Golden Arm (1956/119 m/Otto Preminger)
(3:30 PM) (drama) Anatomy Of A Murder (1959/161 m/Otto Preminger)
(6:15 PM) (suspense) Laura (1944/88 m/Otto Preminger)
(8:00 PM) (comedy) People Will Talk (1951/110 m/Joseph L. Mankiewicz)
(10:00 PM) (drama) Magnificent Obsession (1954/108 m/Douglas Sirk)
Friday, September 18, 2020
(12:00 AM) (drama) A Man to Remember (1938/78 m/Garson Kanin)
(1:30 AM) (drama) The Citadel (1938/113 m/King Vidor)
(3:30 AM) (drama) Red Beard (1965/185 m/Akira Kurosawa)
(6:45 AM) (drama) The Doctor and the Girl (1949/98 m/Curtis Bernhardt)
(9:30 AM) (romance) Dark Victory (1939/104 m/Edmund Goulding)
(10:30 AM) (romance) The Painted Veil (1934/84 m/Richard Boleslawski)
(12:00 PM) (romance) Conquest (1937/112 m/Clarence Brown)
(2:00 PM) (romance) Camille (1937/109 m/George Cukor)
(4:00 PM) (comedy) Ninotchka (1939/110 m/Ernst Lubitsch)
(6:00 PM) Grand Hotel (1932/113 m/Edmund Goulding)
(8:00 PM) (drama) The Rain People (1969/101 m/Francis Ford Coppola)
(10:00 PM) (drama) Harry and Tonto (1974/115 m/Paul Mazursky)
Saturday, September 19, 2020
(12:00 AM) (comedy) Lost In America (1985/91 m/Albert Brooks)
(2:00 AM) (premiere) Wild At Heart (1990/124 m/David Lynch)
(4:15 AM) (premiere) Twin Peaks: Fire Walk With Me (1992/135 m/David Lynch)
(6:30 AM) (suspense) Blackmail (1939/81 m/H.C. Potter)
(9:00 AM) (premiere) MGM CARTOONS: The Flea Circus (1954/7 m/Fred [Tex] Avery)
(9:09 AM) (short) Holland Sailing (1956/8 m/?)
(9:18 AM) (short) Alluring Alaska (1941/9 m/?)
(9:27 AM) (western) Guns Of Hate (1948/62 m/Lesley Selander)
(9:30 AM) (serial) TERRY AND THE PIRATES: The Secret of the Temple (1940/17 m/?)
(10:00 AM) (premiere) POPEYE: Olive Oyl and Water Don't Mix (1933/7 m/Dave Fleischer)
(10:08 AM) (adventure) African Treasure (1952/70 m/Ford Beebe)
(11:30 AM) (short) Roaring Guns (1944/19 m/Jean Negulesco)
(12:00 PM) (drama) Going Home (1971/97 m/Herbert B. Leonard)
(1:45 PM) (western) 3:10 To Yuma (1957/92 m/Delmer Daves)
(3:30 PM) (drama) Fail-Safe (1964/112 m/Sidney Lumet)
(5:30 PM) (war) Sergeant York (1941/134 m/Howard Hawks)
(8:00 PM) (musical) Guys and Dolls (1955/149 m/Joseph L. Mankiewicz)
(10:45 PM) (crime) Midnight Alibi (1934/58 m/Alan Crosland)
Sunday, September 20, 2020
(12:00 AM) (suspense) Gilda (1946/110 m/Charles Vidor)
(2:15 AM) (sci-fi) Rollerball (1975/125 m/Norman Jewison)
(4:30 AM) (sci-fi) Countdown (1968/101 m/Robert Altman)
(6:15 AM) (drama) All The King’s Men (1949/110 m/Robert Rossen)
(9:15 AM) (comedy) It Happened One Night (1934/105 m/Frank Capra)
(10:00 AM) (suspense) Gilda (1946/110 m/Charles Vidor)
(12:15 PM) (musical) Going My Way (1944/127 m/Leo McCarey)
(2:30 PM) (musical) Royal Wedding (1951/93 m/Stanley Donen)
(4:15 PM) (musical) Dangerous When Wet (1953/95 m/Charles Walters)
(6:00 PM) (comedy) Guess Who’s Coming To Dinner? (1967/108 m/Stanley Kramer)
(8:00 PM) (premiere) Tamango (1959/100 m/John Berry)
(10:00 PM) (adventure) Tarzan’s Peril (1951/79 m/Byron Haskin)
(11:30 PM) (drama) The Harlem Globetrotters (1951/77 m/Phil Brown)
Monday, September 21, 2020
(1:00 AM) (premiere) Where Now Are The Dreams Of Youth? (1932/86 m/Yasujiro Ozu)
(2:45 AM) (premiere) LONE WOLF AND CUB: Baby Cart in the Land of Demons (1973/90 m/Kenji Misumi)
(4:30 AM) (premiere) LONE WOLF AND CUB: White Heaven In Hell (1974/84 m/Yoshiyuki Kuroda)
(6:00 AM) (silent) Flesh and the Devil (1926/112 m/Clarence Brown)
(9:15 AM) (romance) To Have and Have Not (1944/100 m/Howard Hawks)
(10:15 AM) (crime) The Postman Always Rings Twice (1946/113 m/Tay Garnett)
(12:30 PM) (romance) Possessed (1931/76 m/Clarence Brown)
(2:00 PM) (comedy) Woman of the Year (1942/114 m/George Stevens)
(4:15 PM) (romance) Swing Shift (1984/100 m/Jonathan Demme)
(6:00 PM) (drama) Stromboli (1950/106 m/Roberto Rossellini)
(8:00 PM) (drama) A Cry In The Dark (1988/121 m/Fred Schepisi)
(10:15 PM) (romance) The French Lieutenant’s Woman (1981/124 m/Karel Reisz)
Tuesday, September 22, 2020
(2:30 AM) (drama) Kramer vs. Kramer (1979/105 m/Robert Benton)
(4:30 AM) (drama) Wednesday’s Child (1934/68 m/John Robertson)
(6:00 AM) (documentary) MGM Parade Show #4 (1955/26 m/?)
(6:30 AM) (epic) Around The World In 80 Days (1956/182 m/Michael Anderson)
(9:45 AM) (musical) Bitter Sweet (1940/93 m/W.S. Van Dyke II)
(11:30 AM) (war) In Which We Serve (1942/115 m/Noel Coward)
(1:30 PM) (comedy) Private Lives (1931/84 m/Sidney Franklin)
(3:00 PM) (romance) We Were Dancing (1942/95 m/Robert Z. Leonard)
(4:45 PM) (comedy) Blithe Spirit (1945/96 m/David Lean)
(6:30 PM) (romance) Brief Encounter (1945/87 m/David Lean)
(9:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 4) (2019/61 m/Mark Cousins)
(9:15 PM) (premiere) The Cave of the Yellow Dog (2005/89 m/Byambasuren Davaa)
(11:00 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 4) (2019/61 m/Mark Cousins)
Wednesday, September 23, 2020
(12:15 AM) (crime) Salaam Bombay! (1988/114 m/Mira Nair)
(2:30 AM) (drama) Daughters of the Dust (1991/112 m/Julie Dash)
(4:30 AM) (premiere) Krane’s Confectionary (1951/103 m/Astrid Henning-Jensen)
(6:30 AM) (premiere) Mikey and Nicky (1976/107 m/Elaine May)
(9:45 AM) (premiere) The Juniper Tree (1990/79 m/Nietzchka Keene)
(10:15 AM) (premiere) Women Who Loved Cinema (Part 1 & 2) (2002/114 m/Marianne Khoury)
(12:15 PM) (comedy) Life Begins For Andy Hardy (1941/101 m/George B. Seitz)
2:00 PM) (musical) Girl Crazy (1943/Norman Taurog)
(4:00 PM) (adventure) The Adventures of Huckleberry Finn (1939/91 m/Richard Thorpe)
(6:00 PM) (comedy) Ah, Wilderness! (1935/98 m/Clarence Brown)\
(8:00 PM) (drama) Boys Town (1938/93 m/Norman Taurog)
(9:45 PM) (drama) The Human Comedy (1943/117 m/Clarence Brown)
Thursday, September 24, 2020
(12:00 AM) (adventure) The Black Stallion (1979/117 m/Carroll Ballard)
(2:15 AM) (musical) Strike Up The Band (1940/120 m/Busby Berkeley)
(4:30 AM) (crime) Killer McCoy (1947/104 m/Roy Rowland)
(6:15 AM) (romance) Wuthering Heights (1939/104 m/William Wyler)
(9:15 AM) (romance) Kitty Foyle (1940/108 m/Sam Wood)
(10:15 AM) (drama) Cass Timberlane (1947/119 m/George Sidney)
(12:15 PM) (drama) The Bad and the Beautiful (1952/118 m/Vincente Minnelli)
(2:30 PM) (drama) Magnificent Obsession (1954/108 m/Douglas Sirk)
(4:30 PM) (drama) All That Heaven Allows (1955/89 m/Douglas Sirk)
(6:15 PM) Written On The Wind (1957/99 m/Douglas Sirk)
(8:00 PM) (drama) Young Dr. Kildare (1938/82 m/Harold S. Bucquet)
(9:30 PM) (drama) The Young Doctors (1961/103 m/Phil Karlson)
(11:30 PM) (comedy) The Hospital (1971/102 m/Arthur Hiller)
Friday, September 25, 2020
(1:30 AM) (drama) No Way Out (1950/107 m/Joseph L. Mankiewicz)
(3:30 AM) (drama) The Girl In White (1952/93 m/John Sturges)
(5:04 AM) (short) Her Honor, The Nurse (1956/8 m/Harry W. Smith)
(5:30 AM) (drama) Emergency Hospital (1956/63 m/Lee Sholem)
(6:45 AM) (horror) War of the Planets (1965/97 m/Antonio Margheriti)
(9:30 AM) (horror) The Cosmic Monster (1958/72 m/Gilbert Gunn)
(10:00 AM) (horror) Satellite In The Sky (1956/84 m/Paul Dickson)
(11:30 AM) (horror) The Green Slime (1969/90 m/Kinji Fukasaku)
(1:15 PM) (horror) Queen of Outer Space (1958/80 m/Edward Bernds)
(2:45 PM) (horror) The Wild, Wild Planet (1965/94 m/Anthony Dawson)
(4:30 PM) (horror) Village of the Damned (1960/77 m/Wolf Rilla)
(6:00 PM) (horror) Children of the Damned (1964/90 m/Anton M. Leader)
(9:00 PM) (western) The Outlaw Josey Wales (1976/136 m/Clint Eastwood)
(10:30 PM) (western) Alvarez Kelly (1966/110 m/Edward Dmytryk)
Saturday, September 26, 2020
(12:45 AM) (western) Springfield Rifle (1952/93 m/Andre de Toth)
(6:00 AM) (comedy) Larceny, Inc. (1942/95 m/Lloyd Bacon)
(9:00 AM) (premiere) MGM CARTOONS: The First Bad Man (1955/7 m/Fred [Tex] Avery)
(9:09 AM) (short) Salar, The Leaper (1957/8 m/Douglas Sinclair)
(9:18 AM) (documentary) Land of Alaska Nellie (1940/9 m/?)
(9:28 AM) (western) Gun Law (1938/60 m/David Howard)
(9:30 AM) (serial) WILD WEST DAYS: Death Rides The Range (1937/?/?)
(10:00 AM) (premiere) POPEYE: Many Tanks (1933/7 m/Dave Fleischer)
(10:09 AM) (adventure) Bomba and the Jungle Girls (1952/70 m/Ford Beebe)
(11:30 AM) (short) Heavenly Music (1943/22 m/Josef Berne)
(12:00 PM) (drama) The Long Voyage Home (1940/106 m/John Ford)
(2:00 PM) (epic) Quo Vadis (1951/174 m/Mervyn LeRoy)
(5:15 PM) (war) Where Eagles Dare (1968/155 m/Brian G. Hutton)
(8:00 PM) (romance) The Red Shoes (1948/134 m/Michael Powell)
(10:30 PM) (war) Night Ambush (1958/105 m/Michael Powell)
Sunday, September 27, 2020
(12:15 AM) (drama) They Won’t Believe Me (1947/90 m/Irving Pichel)
(2:00 AM) (horror) Creature from the Black Lagoon (1954/79 m/Jack Arnold)
(3:30 AM) (horror) UFO (1956/88 m/Winston Jones)
(5:15 AM) (documentary) MGM Parade Show #4 (1955/26 m/?)
(6:00 AM) (romance) Mata Hari (1931/89 m/George Fitzmaurice)
(7:45 AM) (comedy) The Talk Of The Town (1942/117 m/George Stevens)
(10:00 AM) (drama) They Won't Believe Me (1947/90 m/Irving Pichel)
(11:45 AM) (comedy) Don't Make Waves (1967/97 m/Alexander Mackendrick)
(1:30 PM) (drama) Honeysuckle Rose (1980/119 m/Jerry Schatzberg)
(3:45 PM) (romance) Now, Voyager (1942/117 m/Irving Rapper)
(6:00 PM) (drama) Executive Suite (1954/104 m/Robert Wise)
(10:15 PM) (drama) The Decks Ran Red (1958/84 m/Andrew L. Stone)
(12:00 AM) (comedy) Our Modern Maidens (1929/75 m/Jack Conway)
(2:00 AM) (musical) Black Orpheus (1959/108 m/Marcel Camus)
(4:00 AM) (romance) Orpheus (1950/96 m/Jean Cocteau)
Monday, September 28, 2020
(6:00 AM) (comedy) Not So Dumb (1930/76 m/King Vidor)
(7:30 AM) (drama) Street Scene (1931/79 m/King Vidor)
(9:00 AM) (adventure) Bird of Paradise (1932/82 m/King Vidor)
(10:30 AM) (drama) Our Daily Bread (1934/74 m/King Vidor)
(11:45 AM) (western) Northwest Passage (1940/127 m/King Vidor)
(2:00 PM) (drama) H.M. Pulham, Esq. (1941/120 m/King Vidor)
(4:15 PM) (drama) The Fountainhead (1949/113 m/King Vidor)
(6:15 PM) (crime) Lightning Strikes Twice (1951/90 m/King Vidor)
(9:00 PM) (comedy) You Can't Take It With You (1938/126 m/Frank Capra)
(10:30 PM) (drama) Ship of Fools (1965/149 m/Stanley Kramer)
(1:15 AM) (premiere) Titicut Follies (1967/84 m/Frederick Wiseman)
(3:00 AM) (drama) The Sign of the Ram (1948/84 m/John Sturges)
(5:00 AM) (documentary) Private Screenings: Liza Minnelli (2010/45 m/Sean Cameron)
Tuesday, September 29, 2020
(6:00 AM) (drama) Blossoms in the Dust (1941/99 m/Mervyn LeRoy)
(9:00 AM) (romance) Mrs. Parkington (1944/124 m/Tay Garnett)
(10:30 AM) (drama) Madame Curie (1943/124 m/Mervyn Le Roy)
(1:00 PM) (romance) The Valley of Decision (1945/118 m/Tay Garnett)
(3:15 PM) (romance) Pride and Prejudice (1940/118 m/Robert Z. Leonard)
(5:30 PM) (war) Mrs. Miniver (1942/134 m/William Wyler)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 5) (2019/61 m/Mark Cousins)
(9:15 PM) (drama) Middle of Nowhere (2012/101 m/Ava Duvernay)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 5) (2019/61 m/Mark Cousins)
Wednesday, September 30, 2020
(12:30 AM) (drama) Beau Travail (1999/89 m/Claire Denis)
(6:00 AM) (premiere) Wasp (2003/26 m/Andrea Arnold)
(10:00 AM) (drama) Antonia's Line (1995/103 m/Marleen Gorris)
(12:00 PM) (premiere) The Green-Eyed Blonde (1957/72 m/Bernard Girard)
(1:15 PM) (crime) Ring of Fire (1961/91/Andrew L. Stone)
(2:45 PM) (drama) Untamed Youth (1957/80 m/Howard W. Koch)
(4:15 PM) (musical) Jailhouse Rock (1957/97 m/Richard Thorpe)
(6:00 PM) (drama) Rebel Without A Cause (1955/111 m/Nicholas Ray)
(8:00 PM) (drama) Stand and Deliver (1988/103 m/Ramon Menendez)
(10:00 PM) (drama) The Blackboard Jungle (1955/101 m/Richard Brooks)
submitted by tombstoneshadows28 to movies [link] [comments]

New Music Friday: April 24th, 2020

New Music Friday is a new weekly thread dedicated to chronicling all the Album/EP releases that came out this week. This is also a great place to discuss these albums, or bring to our attention other albums released this week.
Elephant Tree - Habits
Label: Holy Roar Records
Genre: Heavy Psych, Stoner Metal, Slowcore
Elder - Omens
Label: Stickman Records, Armageddon Label
Genre: Heavy Psych, Progressive Rock, Stoner Rock
Other Lives - For Their Love
Label: ATO Records
Genre: Chamber Pop, Indie Rock
Diners - Leisure World
Label: Lauren Records
Genre: Indie Pop, Funk Rock
Cassowary - Cassowary
Label: Fat Possum
Genre: Nu-Jazz, Jazz Rock
Relevant Elephants (by TheRelevantElephants) - Major Plastic Sabotage
Label: self-released
Genre: Indie Rock, Pop Rock
Renouncer (by torinn818) - Living With People
Label: self-released
Genre: Indie Rock, Lo-Fi Indie
City Mouth - Coping Machine
Label: Take This To Heart
Genre: Indie Rock, Pop Rock
Febueder - Tomalin Has Etched In
Label: self-released
Genre: Indie Pop, Art Pop
Frank Turner - Live In Newcastle
Label: Polydor Records
Genre: Singesongwriter, Folk Rock
Beach Comber (Rory Friers of And So I Watch You From Afar) - Parting Cuts
Label: self-released
Genre: Singesongwriter, Indie Folk
White Poppy - Paradise Gardens
Label: Not Not Fun Records
Genre: Dream Pop, Hypnagogic Pop
Naoise Roo - Sick Girlfriend (EP)
Label: Sick Girlfriend Records
Genre: Alternative Rock, Indie Rock
altopalo - farawayfromeveryoneyouknow
Label: Samedi
Genre: Art Pop, Glitch Pop, Ambient Pop
Klein - Frozen
Label: self-released
Genre: Sound Collage, Post-Industrial, Hypnagogic Pop
Nick Leng - LEMONS
Label: SOTA Records
Genre: Indie Pop, Synthpop
EQ Why - Gravitate
Label: self-released
Genre: Footwork, Juke, Glitch
Clams Casino - Instrumental Relics
Label: self-released
Genre: Instrumental Hip Hop, Cloud Rap
Lorenzo Senni - Scacco Matto
Label: Warp
Genre: Progressive Electronic, Trance
Princess Thailand - And We Shine
Label: Tant Rêver du Roi, Luik Records
Genre: Post-Punk, No Wave
Max Bloom (of Yuck) - Perfume
Label: Anniversary
Genre: Indie Pop, Indie Rock
The Feather - ROOM
Label: [PIAS] Recordings Belgium
Genre: Indie Rock, Indie Pop
Rabbit Island - Songs for Kids
Label: bedroom suck records
Genre: Neo-Psychedelic, Indie Folk
NOVA ONE - lovable
Label: Community Records
Genre: Dream Pop, Psychedelic Pop
Hotel Lux - Barstool Preaching (EP)
Label: Nice Swan Records
Genre: Post-Punk, Art Punk
Junk Drawer - Ready For The House
Label: Art For Blind
Genre: Indie Rock, Noise Pop
Wares - Survival
Label: Mint Records
Genre: Indie Rock, Alternative Rock
Whitney Rose - We Still Go to Rodeos
Label: MCG Recordings
Genre: Country, Americana
Alice Bag - Sister Dynamite
Label: In the Red Records
Genre: Punk Rock
Sylvan Esso - WITH (Live)
Label: Loma Vista
Genre: Electropop, Indietronica
Quelle Chris - Innocent Country 2
Label: Mello Music Group
Genre: Jazz Rap, Abstract Hip Hop, Neo-Soul
Altadore - Gardenia
Label: self-released
Genre: Indie Pop, Baroque Pop
LAKE - Roundelay
Label: Off Tempo
Genre: Indie Pop, Twee Pop
Dead Ghosts - Automatic Changer
Label: Burger Records
Genre: Garage Rock, Psychedelic Rock
Zsela - Ache of Victory (EP)
Label: self-released
Genre: Art Pop, Singesongwriter
Kali Uchis - TO FEEL ALIVE (EP)
Label: Virgin EMI Records
Genre: Contemporary R&B, Neo-Soul
AWOLNATION - Angel Miners & The Lightning Riders
Label: Better Noise Music
Genre: Pop Rock, Alternative Rock
Day Wave - Crush (EP)
Label: [PIAS]
Genre: Dream Pop, Jangle Pop
BC Camplight - Shortly After Takeoff
Label: Bella Union
Genre: Psychedelic Pop, Art Rock
Harkin (Katie Harkin of Sky Larkin) - Harkin
Label: Hand Mirror
Genre: Indie Pop, Indie Rock
Marlin's Dreaming - Quotidian
Label: Marlin's Dreaming
Genre: Jangle Pop, Indie Rock, Neo-Psychedelia
Brendan Benson - Dear Life
Label: Third Man Records
Genre: Power Pop, Pop Rock
RVG - Feral
Label: Fire Records
Genre: Indie Rock, Jangle Pop
Tom Misch & Yussef Dayes - What Kinda Music
Label: Beyond The Groove / Blue Note Records
Genre: Neo-Soul, Contemporary R&B
Hazel English - Wake UP!
Label: Polyvinyl Record Co.
Genre: Indie Pop, Dream Pop
King Gizzard & The Lizard Wizard - Chunky Shrapnel (Live)
Label: Flightless
Genre: Garage Rock, Krautrock, Space Rock, Thrash Metal
Lucinda Williams - Good Souls Better Angels
Label: Highway 20
Genre: Blues Rock, Alt-Country
Pam Tillis - Looking For a Feeling
Label: Stellar Cat
Genre: Country
Alina Baraz - It Was Divine
Label: Mom + Pop Music
Genre: Alternative R&B, Chillstep, Downtempo
IC3PEAK – До Свидания (Goodbye)
Label: self-released
Genre: Art Pop, Wave, Witch House, Trap Metal, Alternative R&B
Ulcerate - Stare Into Death and Be Still
Label: Debemur Morti Productions
Genre: Technical Death Metal, Atmospheric Sludge Metal
Dance Gavin Dance - Afterburner
Label: Rise Records
Genre: Math Rock, Post-Hardcore
Katatonia - City Burials
Label: Peaceville Records
Genre: Alternative Metal, Gothic Metal, Progressive Rock
Trivium - What The Dead Men Say
Label: Roadrunner Records
Genre: Melodic Metalcore, Alternative Metal, Heavy Metal
The Used - Heartwork
Label: Hassle Records
Genre: Alternative Rock, Pop Rock, Post-Hardcore
Warbringer - Weapons of Tomorrow
Label: Napalm Records
Genre: Thrash Metal, Black Metal
Danzig - Danzig Sings Elvis
Label: Cleopatra Records
Genre: Rockabilly, Blues Rock
Black Curse - Endless Wound
Label: Sepulchral Voice
Genre: Death Metal, Black Metal
submitted by VietRooster to indieheads [link] [comments]

The Core of Fallout

[This is a rewrite of a post that I..well...posted a few days ago but deleted an hour afterwards. Wasn’t pleased with a few small things.]
There have been a lot of posts lately about people wanting a Fallout game outside the US, and an equal amount of replies where they argue that a Fallout outside the US would not feel like Fallout at all. One of the biggest arguments that the opposition gives for that is that the iconography of Fallout–and especially 50’s Americana–is an essential part of the Fallout experience, and without it, Fallout would not work.
Not too long ago I started playing Classic Fallout for the first time and had quite the blast with it. With my memories of Fallout 1 and 2 fresh (and the not so distant memories of my multiple playthroughs of New Vegas), I find the “Fallout needs 50’s Americana to be Fallout” argument to be a tad perplexing. Outside the intro of Fallout 1 and 2 (and the radio of New Vegas), there’s not a lot of 50’s Americana in them. With these 3 games, it seems that the developers choosing to go with this retrofuturism had little to do with the iconography itself, and more to do with the retro-tech that they could use to differentiate Fallout with other Post-Apocalyptic franchises, as the latter tend to use more modern or high technology instead (or, to be more specific, they were trying to differentiate Fallout from Wasteland enough to not be sued). 50’s Americana being an important part of the Fallout experience is only true with the Bethesda games, and even then I do not believe that it is part of the core.
After saying all of this then, I ask myself which is the core of Fallout.
Well, as Tim Cain said, “My idea is to explore more of the world and more of the ethics of a post-nuclear world, not to make a better plasma gun.”
It is my belief that the two main core of Fallout is the appearance of new civilizations (yes, civilizations, not isolated settlements or small communities) out of the asses of the old ones, and the relationship of this “post-nuclear world” has with the sins of the Old World. As such, Fallout is about Wasteland societies, and not 50’s Americana.
[Warning. I’m going to discuss at length all the main games up to Fallout 4 and a few of the DLC. If you’re not interested in that, jump into the TL;DConclusions]
Fallout is an excellent example of this. Although the residents of the first settlement you find–Shady Sands–are descendants of Vault Dwellers, the small society has little to do with their past History when you find them, being practically a new beginning for mankind, and as such is the most idealistic society in the first game, as it has been clean for the sins of the Old World. Meanwhile, the second settlement–Junktown–is literally a society built from the waste of the Old World, and as such still deals with the problems of the past (is no coincidence that the main bad guy of Junktown is a capitalist “pig”).
The Master is by far the most alien villain of the franchise, but he (they?) is still grounded on the conflict between the New World and the Old one. The FEV is the Old World’s “dream” still surviving in the Post-apocalypse. It is the view that morally questionable (and downright monstrous) means are justified by the results. The Master is drunk with such ideas to the point that he doesn’t realise his mistakes until it is too late. Link to the Master and the FEV we have Captain Maxson and the Brotherhood of Steel, an organization that was explicitly created to stop the horrors of the Old World from happening again. But, without realising it, such ideas made them ever more dogmatic, xenophobic, and isolationist, as such–like the Master–falling into the sins of the Old World without realising it.
With Fallout 2, we found an even better example of these two cores, as it is the story of the Old World trying to impose itself into the New World. The Enclave is the US Remnants, and as such they share with it the problems that lead to the Nuclear War. Meanwhile, the Chosen One is a tribes(wo)men, part of a New World society completely separated from the Old World. As such, the protagonist-Enclave conflict is not just the “good” guy fighting an “evil” regime, but the player fighting the old traditions to preserve the new way of life found in the Wasteland (the exact opposite of the ‘50s Americana’s Red Scare).
We also see this motif with Shady Sands–now the New California Republic–who has grown from an Iron Age village into the capital of a new Post-war civilization. But–by doing so–they have inherited the Old World’s problems, which become more apparent in New Vegas with the passing of time. As such, with the NCR the external conflict between the Old World and the New becomes an internal struggle, revealing that the transition from the former to the latter ain’t a clean one.
But, of course, that’s the old games and Interplay. Fast forwards to Fallout 3 and Bethesda and we see a different song. The story here–oddly enough–is the Water Chip quest from the first Fallout expanded into the whole game. We don’t even see the main antagonist until the last moments of the main quest, and oddly enough they are closer to Fallout 1’s Master Army than to Fallout 2’s Enclave, with President Eden playing a similar role to the Master and Augustus to Lieutenant.
Either way, with Fallout 3 we see a massive tone shift with the previous Fallouts. Now, we don’t see civilizations existing (and to an extent, thriving) in the Wasteland, but small communities (isolated to some level) surviving against the Wasteland. Now, we are not seeing human conflict in the Post-Apocalypse, but humanity’s conflict with the Post-Apocalypse. Although I said previously that the Enclave Remnants are the main antagonists of Fallout 3, the main villain is the Capital Wasteland itself, as it is the one who has been trying to kill the Wasteland inhabitants since the beginning, with the Enclave being more an obstacle between the protagonist and defeating the Capital Wasteland.
This is also linked with Bethesda not understanding the tragic nature of two of the most “iconic” factions in the franchise: supermutants and the Brotherhood of Steel. With the supermutants, the tragic–a most interesting–aspect of them is that they are the living monuments to a failed attempt to improve humanity, and a sad reminder of the sins of the Old World. Fallout’s 3 Super Mutants–on the other hand–are nothing but brutish orcs, the Capital Wasteland’s hostility towards humanity made anthropomorphic, and as such not part of a human conflict.
Meanwhile, with the Brotherhood of Steel, we see a transition from a tragic society that is disappearing thanks to their own flaws, to the light heroes of the Wasteland fighting for the little people. As such, we lose the nuance of a society created to fight the errors of the Old World while also falling into them for just be replaced by a noble-bright caricature of themselves.
“Well, that’s the new Fallout,” some of you might say. “Now its core is different.”
And I might agree with you...but the problem lies in that the old core of Fallou–the exploration “of the world and more of the ethics of a post-nuclear world”–still lingers and sometimes thrives, and not only in New Vegas. As such, showing that this problem might be more about Bethesda not understanding the core of Fallout rather than them changing the tune. Already with 3, we see human conflicts in the Wasteland become the main theme of the story with “the Pit” DLC, by far the best Fallout 3 expansion in my opinion. In it, we see the workings of a brutal society that has appeared in the ruins of the Old World’s Pittsburg. Here–like Junktown–we see a new civilization live out of the ruins of the old one, their brutal slave culture based directly on harvesting the resources of the old city to sell it for food and caps. The conflict of the DLC is a human one: a slave uprising against their masters, with Pittsburg being the background instead of the main villain. As such, we see the core of the classic Fallouts in this expansion.
New Vegas, on the other hand, is Fallout’s core in the purest sense. We see the NCR of Fallout 2 reach their logical conclusion, becoming the Old World’s US just to fall into the same problems as they did. Meanwhile, Caesar’s Legion is the polar opposite of the NCR, and the low tech cousin of the Brotherhood of Steel. Like them, Caesar opposes the Old World’s ways and tries to build the antithesis of it. But, by doing so, he creates new problems altogether and dooms his new civilization by betting its existence in his survival.
House, on the other hand, opposes the old US like Caesar, but embraces an Old World ideology–objectivism–believing not that the Old World was wrong, but that it didn’t do it right. As such, the House isn’t trying to build a new society according to the Wasteland’s rules, but trying–like the Enclave–to impose the Old World into the new, changing only one Old World ideology for another.
In regards to New Vegas, it's also important to focus on its DLC, as they completely ignore the iconography of the franchise to tell their own Fallout story without being bound by it. We see Sierra Madre Casino being a glimpse to a dark past without being as well a nostalgia trip to the 50’s, and Old World Blues focus on the “Old World” morally questionable experiments without using the tech we all know and love. Meanwhile, with Honest Hearts, we part ways almost completely from the Old World to center instead in the conflict between two tribes without the Old World having anything to do with it (although the creation myth of the “good” tribe is intrinsically linked with it). Finally, with Lonesome Road, we see the ruin of a New World society caused by the Old World returning with force into the Wasteland. The Great Divided is the extreme case of what would have happened if the Enclave had won in Fallout 2: the rotten corpse of humanity slowly decomposing into irradiated waste until only the memories of a terrible past remain. And all of this was caused by you bringing the Old World into a thriving society.
Finally, we reach Fallout 4 (haven’t played 76, so I cannot comment on it–although the Wastelanders DLC seems promising). To be honest, I’m quite confused on where the Fallout 4’s story falls into the Old vs New. Hell, after thinking about it Fallout 4's story reminds me more of cyberpunk fiction than Post-Apocalyptic fiction. You have the oppressed population with the Commonwealth settlers and the megacorporation oppressing the masses with the Institute. With the three non-Institute factions, you have three types of cyberpunk protagonists.
With the Minutemen, you have the common folk revolting against their oppressors like in Snowpiercer. The Railroad is the rag-tag group of freedom fighters akin to a ton of American cyberpunk like Total Recall, the Running Man, Brazil, or Equilibrium. Meanwhile, with the Brotherhood of Steel, you have a type of cyberpunk more common outside the US and in Post-cyberpunk where the evil megacorporation is opposed by the Police or other Law enforcing agency like in Ghost in the Shell or Patlabor.
As such, I cannot help to think that Fallout 4 is a cyberpunk story implanted into a Post-apocalyptic setting. Hell, the story conflict–the Institute is implanting synths into the population to control them–sounds more like something out of Blade Runner (and it is exactly what was happening in the book, funny enough) than Fallout. Fallout 4 is a weird instalment in the franchise if you think about it…
I cannot say the same with Far Harbor, which follows the Fallout core to the T–although it inverts it. As such, we see the original community of the island–who still maintain part of the Old World’s life still going–clash with the newly arrived Children of the Atom–who are intrinsically a New World culture. Meanwhile, Dema and the other synths are a community formed by a species that hadn’t existed until the Post-apocalyptic world and hopes to leave at peace far from the Old vs New dynamic. This makes for quite the irony, as Dema tries to do so by directly entering this conflict, dooming (if the player doesn’t do the right thing) its own community in the process.
Nuka World–on the other hand–centres on the Old vs New conflict. Like in the Pit, we see a raider group living in the ruins of the Old World and hoping to make a profit out of it. The difference is that slavery ain’t the main conflict of the story like in the Pit, instead of being the ideological differences between the three raider clans and how this affects and was affected by the world around them. In a way, it is a study on why raiders appear in the post-apocalyptic world, and how they can also be the beginning of a true civilization instead of a permanent force of chaos (if that was well done or not, that’s for the player to decide).
TL;DR [don’t blame you for that. This is too fucking long]
Basically, outside 3 (and it’s DLC besides the Pit) and 4 main story, you can find what I believe what’s the core of Fallout in all of them. 50’s Americana in Fallout for me is nothing but window dressing, with the main attraction of the series being the societies that exist in the Wasteland.
As such, a Fallout game based outside the US can work perfectly fine in my opinion. Hell. You just need to play the Fallout inspired games/fan games to see that they can be set in another country and still feel like Fallout. Atom RPG is based on Post-war Soviet Union, but it still follows what I think it is the core of Fallout, as such feeling like if it was a Fallout game in all but name.
You also have the example of Underrail. This one setting has little to do with the US or any other place whatsoever (although it is a Serbian game, so I might as well say that it is based on a Yugoslavian Peninsula-wide Metro-system/s), but it still feels like Fallout because–although it is about post-apocalyptic societies in an underworld–it's still about post-apocalyptic societies and the conflict between them.
“But OP. Almost every Post-Apocalyptic game is about that!” a strawman of you might say. But are they really? Let’s return to Fallout 3. As I said, although we have a human antagonist with the Enclave, the real villain of the story is the Wasteland itself. As such, this is not a story of Society vs Society, but of Man vs Nature (a heavy irradiated Nature, but Nature nevertheless). Another “mainstream” Post-Apocalyptic series–Metro–also has human conflict as part of it’s story, but the main core of Metro is still the survival of humanity against a hostile world, and how they have stopped being the apex species in it, being supplanted by the Dark Ones (and their esoteric ways). The human conflict, then, is less about the conflict itself, and more how it is a meaningless endeavour that only helps to accelerate human’s extinction.
You also have the RAGE series, that–just like Fallout 4–is more a Cyberpunk game in a Post-Apocalyptic world than a Post-Apocalyptic story per se, as the main focus of the story is the struggle against a dystopian government.
Finally, you have the Mad Max, where the main struggle is an individual (Mad Max) going against a tyrannical/dystopian Post-Apocalyptic civilization, Immortan Joe’s regime (Gastown is part of Immortan Joe civilization alongside Joe’s Citadel and the Bullet Farm).
So, in my eyes, Fallout and it’s spiritual successors (and its sister series Wasteland) are the only Post-Apocalyptic video game series where Society vs Society is the main core of the story. The only other game that has a similar focus and isn’t linked with Fallout in an in-game way might be the upcoming Dying Light 2, and even then it is still linked with the Fallout franchise as its lead writer is motherfucking Chris Avellone.
Either way, as much as Fallout 3 and 4 were such deviations from the rest of Fallout, I still like them. Is just that I love Fallout 1, 2, and New Vegas, and I cannot deny that this is a big bias on my part (although not from a Nostalgic point of view, as Fallout 3 was my first Fallout). Any story that it’s about societies and their conflicts are waaaay more interesting to me than a story about Man vs Nature, or Man vs Man on an individualistic level.
So, concluding this long as fuck post, do I believe that We will see the game’s old themes become the focus of the story one more? Yes. With Far Harbor, Nuka World, and Wastelanders it seems that Bethesda is finally discovering what the classic series was all about. I can only hope that they use what they have learned in Fallout 5.
submitted by nachoolo to Fallout [link] [comments]

Real Life Soap Opera - Episodio X: Parigi val bene una messa

ci avviciniamo alla fine della storia… probabilmente questo sarà il penultimo episodio.
ep I, ep II, ep III, ep IV, ep V, ep VI, ep VII, ep VIII ep IX
riassunto della puntata precedente: Lucia è stata cazziata da quella ficcanaso di Gertrude per la sua relazione clandestina con Renzo. Lui e Lucia inizialmente decidono di interromperla, ma subito dopo ci ricascano. Incombono poi diversi problemi: da una parte i sensi di colpa altalenanti di Lucia che minacciano di far esplodere tutto, dall’altra la sua insistenza nel cercare di tirarlo dentro a quella che sembra sempre di più una sinistra setta religiosa.
Episodio X: Parigi val bene una Messa
in questo periodo Renzo cerca di barcamenarsi tra tutte le incognite di questa storia incasinata. Frequenta Lucia senza sapere bene cosa fare sul lungo termine, cerca da una parte di evadere i suoi pressing religiosi e dall’altra di ottenere più informazioni a riguardo, e viene impietosamente preso per il culo da chiunque.
Infatti, Tonio e Bortolo sanno tutta la storia, e con loro tutti i colleghi e gli amici di Renzo. Il poveretto lavora in un open space con dentro un centinaio di persone della sua età e le storie girano, soprattutto quando sono fantozziane quanto questa.
Ora ogni volta che entra in ufficio viene accolto da innumerevoli allora Renzo quand’è che si va a messa?, come sta Pinochet? (appellativo per Lucia nato da un’incomprensione circa la sua nazionalità, e rimasto), è passato un sudamericano incazzato che ti cercava… e così via.
Un po’ per gioco e un po’ no, Renzo, Bortolo e una collega stanno cercando di mettere insieme i pezzetti di informazione che Lucia ha dato per capire quale sia effettivamente la setta a cui lei appartiene. Le informazioni in realtà sono molto poche, ma qualcosa Renzo è riuscito a farselo dire: Lucia ha detto di essere protestante, il che restringe leggermente il campo, Renzo sa anche gli orari degli appuntamenti fissi di lei, e vagamente i posti in cui lei e gli altri accoliti si ritrovano.
Con questi dati e un bel po’ di ricerche tra google e social network vari, i tre restringono il campo a due associazioni che sembrano semi-religiose: una è una robaccia new age di self-improvement americana tipo scientology che sembra fondamentalmente uno scam per farsi dare dei soldi, l’altra è un movimento di massa nato in Australia, che stando a internet riempie interi stadi e ha sedi in tutto il mondo. Entrambe le associazioni hanno riunioni settimanali e appuntamenti fissi la domenica negli orari giusti. Nessuna delle due sembra una pista troppo promettente.
Da parte sua, Lucia sta finendo i suoi corsi di Italiano e le pratiche per la nazionalità. La burocrazia italiana è nota per essere farraginosa, ma lei ci ha messo del suo: quando è arrivata in Italia infatti, per risparmiare, è andata a vivere in un paesucolo inutile di 1500 abitanti in una provincia vicina, presso una lontana conoscente della sua famiglia, che sarà d’ora in poi L’Innominato.
L’Innominato si è rivelata poi essere una persona orribile, con dei disturbi mentali non indifferenti, che maltrattava Lucia, la minacciava quando tornava a casa in ritardo, le impediva di uscire di casa e così via. Lucia è quindi praticamente fuggita dalla casa dell’Innominato per venire a vivere a Milano.
Il problema è che aveva iniziato l’iter burocratico mentre risiedeva a Roccaminchiona, e quindi risulta ancora legalmente risiedente là, e questo noon può essere cambiato. La sua pratica è seguita da un’impiegata del comune di Roccaminchiona, gentile ma non troppo brillante, che prenderà il nome di Azzeccagarbugli. Senza far scoprire all’Azzeccagarbugli che ormai sta a Milano, Lucia si deve recare regolarmente nel paesello per fare le pratiche. In contemporanea deve tenere buono l’Innominato che, agli occhi della legge, è garante del fatto che Lucia risiede sempre là.
Gertrude non si è più lamentata, forse pacificata da qualche finta rassicurazione di Lucia, forse rassegnata all’inevitabile.
Renzo e Lucia continuano con la loro frequentazione low-profile e le loro gite fuori città. è dopo l’ennesima di queste che succede il fattaccio.
PUBBLICITA’ non guardo la TV da anni e non ce l’ho nemmeno in casa. ho finito le idee. Di conseguenza l’inserzionista di oggi sarà una roba vecchissima che ricordo dalla mia infanzia: la Fabbrica Dei Mostri. Un’atroce fornetto elettrico che permette di sciogliere delle plastiche probabilmente tossiche, versarle in stampini di piombo e produrre così insetti, vermi e animaletti vari colorati. Come facessimo a divertirci con quella roba rimane un MISTERO.
Siamo arrivati ad un weekend di fine Febbraio, Renzo e Lucia hanno passato il sabato mattina a vedere un museo, il sabato pomeriggio da lei, e la domenica a visitare una cittadina d’arte a un paio d’ore da Milano. Il giorno successivo, Lunedì, Renzo chiama Lucia all’uscita dal lavoro, come consuetudine, per fare due chiacchiere e decidere se vedersi o meno la sera.
Lucia risponde in lacrime. è successo un casino, non possiamo più parlarci. Renzo riesce in qualche maniera a tranquillizzarla e a farsi dare una spiegazione: è successo che Lucia ha postato su qualche social network una foto della loro gitarella del giorno precedente. Don Rodrigo ha visto la foto sul social e, nonostante Renzo non fosse inquadrato, si è insospettito. Ha cominciato a fare domande sempre più insistenti a Lucia su dove fosse andata, con chi e così via, finchè lei non ha ceduto e ha mezzo confessato di ”aver conosciuto qualcuno con cui si trova molto bene” (Sic).
Comprensibilmente Don Rodrigo si è incazzato e ha minacciato Lucia di mollarla, il che ha scatenato un litigio tra i due.
Renzo è stanco, stressato dal lavoro e stufo di questo continuo tira-e-molla alla Charlie Brown. Dice chiaramente a Lucia che, se lei vuole evitare di creare problemi alla sua relazione con Don Rodrigo, allora la devono smettere davvero di vedersi e sentirsi. Si scusa per non esserci riuscito la prima volta e promette di non disturbarla più. Chiude la conversazione e spegne il telefono.
Questa volta niente musica triste sulla scena di lui che torna a casa: è più incazzato che dispiaciuto. Le immagini sono solo accompagnate dai rumori freddi e impersonali della metropolitana e della pioggia battente.
Bortolo scommette che ricominceranno a sentirsi dopo tre giorni, l’altra collega dice una settimana.
In realtà di giorni ne passano due, ma Lucia si muove da una direzione completamente inaspettata: senza particolari preamboli chiede a Renzo, in modo quasi supplichevole, di andare in chiesa con lei la domenica seguente. Dice che per lei è molto importante e vorrebbe che andassero insieme.
Quando Renzo le chiede diobuono non mi hai mica detto che non dobbiamo più cagarci puttana la miseria, lei risponde di stare tranquillo e che ha sistemato: ho parlato con Don Rodrigo ed è tutto ok.
Renzo non sta più capendo. è tutto ok cosa? cambiare idea ogni sei secondi? avere l’amante? andarci in chiesa? La scena di Renzo sorpreso e perplesso da queste parole deliranti è accompagnata dalle note psichedeliche di Brain Damage.
Mentre Renzo sta ancora processando e non sa come rispondere Lucia gli manda i dettagli dell’ipotetico appuntamento. Colpo di scena! E’ la setta degli australiani.
Stando a google si tratta di una megachurch pentecostale (checchè significhi) con più di ottanta sedi nel mondo, centocinquantamila presenze alla settimana, piena di soldi. è’ nata da due predicatori di Sydney, ha un sito fichissimo e una serie di scandali finanziari, sessuali e politici alle spalle.
Ogni settimana organizza un “incontro” in un teatro lussuosissimo del centro di Milano. Nella descrizione di questo incontro le parole “Amore” “Gesù” appaiono circa un miliardo di volte in tre righe.
Da una parte c’è l’incazzatura per l’irragionevolezza di Lucia, dall’altra è tornata prepotente la curiosità. Renzo probabilmente legge troppo e ha troppa fantasia: nella sua mente si generano visioni esagerate di neri che cantano gospel e ballano come nei Blues Brothers, americani in trance che svengono al tocco di predicatori-star, folle che osannano leader religiosi alla Paul Atreides in Dune.
I colleghi ovviamente lo spingono ad andare: mi metto dei baffi finti e vengo anch’io, che figata, filma tutto, dai vai, quando ti ricapita una roba del genere, finchè non lo convincono. Renzo accetta l’invito di Lucia.
Il piano è quello di andare, vedere com’è questa messa satanica, capire che idee ha Lucia, e nel caso salutarla definitivamente. Lucia è di gran lunga la ragazza più piacevole e divertente con cui lui abbia mai avuto a che fare e le è molto affezionato, ma è anche decisamente fuori di testa.
stacco sui titoli di coda sulle parole tristi e accusatorie di Sossity, You’re a Woman. Fine dell’episodio X
Pink Floyd - Brain Damage
Jethro Tull - Sossity, You’re a Woman
submitted by slightly_mental to italy [link] [comments]

New Music Friday: March 6th, 2020

New Music Friday is a new weekly thread dedicated to chronicling all the Album/EP releases that came out this week. This is also a great place to discuss these albums, or bring to our attention other albums released this week.
Phantogram - Ceremony
Label: Republic Records
Genre: Electropop, Trip Hop, Art Pop
Caroline Rose - Superstar
Label: New West Records
Genre: Indie Pop, Synthpop, Synth Funk
U.S. Girls - Heavy Light
Label: 4AD
Genre: Art Pop, Pop Soul, Psychedelic Pop
Jonathan Wilson - Dixie Blur
Label: BMG Rights Management (US) LLC
Genre: Singesongwriter, Americana, Soft Rock
Cassino - Yellowhammer
Label: Secret City Records
Genre: Indie Folk, Alt-Country
Space Camp - Overjoyed in This World
Label: Redscroll
Genre: Noise Rock, Post-Hardcore, Experimental Rock
Liz Pappademas - Rock Record
Label: self-released
Genre: Folk Rock, Singesongwriter
Sea Girls - Under Exit Lights (EP)
Label: Polydor
Genre: Indie Pop, Pop Rock
Down Time - Hurts Being Alive
Label: Twist & Shout
Genre: Folk Rock, Indie Rock
Medasin - RIPPLS
Label: self-released
Genre: Future Bass, Electronic
Luke Haines (The Auteurs/Black Box Recorder) & Peter Buck (REM) - Beat Poetry for Survivalists
Label: Cherry Red
Genre: Indie Rock, Indie Pop
Stereo Honey - Ladders to the Sun (EP)
Label: LAB Records
Genre: Indie Rock, Indie Pop
Metal Preyers - Metal Preyers
Label: Nyege Nyege Tapes
Genre: Electronic, Afrobeat
The Gloomies - Are We Getting Better?
Label: Gloomtones
Genre: Surf Rock, Surf Punk
Pantha Du Prince - Conference of Trees
Label: Modern Recordings
Genre: Microhouse, Minimal Techno
P.E. - Person
Label: Wharf Cat
Genre: Pop Punk, Art Punk
LEYA - Flood Dream
Label: NNA Tapes
Genre: Avant-Folk, Chamber Folk
Hot Mulligan - you’ll be fine
Label: No Sleep Records
Genre: Emo, Pop Punk
ROCH - Via Media
Label: self-released
Genre: Electropop, Snythpop
Ingrid and the Ministers - Kill the Sights
Label: Ingrid Saker
Genre: Indie Rock, Psychedelic Folk Rock
Tricky - 20,20 (EP)
Label: False Idols
Genre: Trip Hop, Experimental Hip Hop
Islet - Eyelet
Label: Fire Records
Genre: Art Pop, Neo-Psychedelia
Gentle Stranger - Love and Unlearn
Label: PRAH Recordings
Genre: Experimental Electronic
Black Casino and the Ghost - Farewell Marshal Brunswick
Label: Lucky Machete
Genre: Alternative Rock, Indie Rock
Swamp Dogg - Sorry You Couldn't Make It
Label: Joyful Noise Recordings
Genre: Country Soul
Planet 1999 - Devotion (EP)
Label: PIAS Recordings
Genre: Synthpop, Dream Pop
snarls - Burst
Label: Take This To Heart
Genre: Alternative Rock, Indie Rock
Handle - In Threes
Label: Upset The Rhythm
Genre: Post-Punk, No Wave
Garcia Peoples - 10-10-2019 Nublu, NYC
Label: self-released
Genre: Indie Rock, Psychedelic Rock
Don't - Lightning Slow
Label: self-released
Genre: Dreamy Life Records
Bleach Day - As If Always
Label: Birdwatcher Records
Genre: Art Rock, Lo-Fi Indie
Mosses - T.V. Sun
Label: Anyway Records
Genre: Neo-Psychedelia, Indie Folk
Nyxy Nyx - Spirit Exchange
Label: BLIGHT. Records
Genre: Lo-Fi Indie, Indie Rock
Jeanines - Things Change (EP)
Label: Where It's At Is Where You Are
Genre: Indie Pop, Jangle Pop
Honey Harper - Starmaker
Label: ATO Records
Genre: Alt-Country, Indie Folk
The Saxophones - Eternity Bay
Label: Full Time Hobby
Genre: Chamber Pop, Slowcore
Esmé Patterson - There Will Come Soft Rains
Label: BMG Rights Management (US) LLC
Genre: Singesongwriter, Indie Rock
Thick - 5 Years Behind
Label: Epitaph Records
Genre: Garage Punk, Indie Rock
Bacchae - Pleasure Vision
Label: Get Better
Genre: Post-Punk, Indie Rock
R.A.P. Ferreira (milo) - Purple Moonlight Pages
Label: Ruby Yacht
Genre: Jazz Rap, Abstract Hip Hop
Worriers - You Or Someone You Know
Label: 6131 Records
Genre: Pop Punk, Power Pop
Noel Gallagher's High Flying Birds - Blue Moon Rising (EP)
Label: Sour Mash Records
Genre: Pop Rock, Neo-Psychedelia
Mystery Guest - Octagon City
Label: Tenth Court
Genre: Electronic, Pop
#1 Dads - Golden Repair
Genre: Indie Folk, Indie Pop
Cornershop - England is a Garden
Label: Ample Play
Genre: Indie Pop, Brit-Pop
Anna Calvi - Hunted
Label: Domino Recording Company
Genre: Art Rock, Singesongwriter
Overcoats - The Fight
Label: Loma Vista Recordings
Genre: Alternative R&B, Indietronica
Addy - Eclipse
Label: Topshelf Records
Genre: Indie Folk, Alt-Country
Disq - Collector
Label: Saddle Creek
Genre: Indie Rock
Nadia Reid - Out of My Province
Label: Spacebomb
Genre: Singesongwriter, Indie Folk
Stephen Malkmus - Traditional Techniques
Label: Matador Records
Genre: Indie Rock, Indie Pop
Lauren Auder - two caves in (EP)
Label: True PantheHarvest Records
Genre: Art Pop, Ambient Pop
Lil Uzi Vert - Eternal Atake
Label: Roc Nation
Genre: Trap, Pop Rap
Megan Thee Stallion - Suga
Label: 300
Genre: Trap, Southern Hip Hop, Hardcore Hip Hop
NCT 127 - Neo Zone
Label: SM Entertainment
Genre: K-Pop, Contemporary R&B
Salt Ashes - counting crosses (EP)
Label: Radikal Records
Genre: Electropop
Lauv - ~how i'm feeling~
Label: AWAL
Genre: Electropop, Contemporary R&B
Mandy Moore - Silver Landings
Label: Verve Forecast Records
Genre: Pop Rock, Adult Contemporary
talker - Wax (EP)
Label: nOWtRecordings
Genre: Electronic, Techno
Jhené Aiko - Chilombo
Label: ArtClub/ARTium/Def Jam
Genre: Alternative R&B, Neo-Soul
Body Count - Carnivore
Label: Century Media Records
Genre: Crossover Thrash, Rap Metal
Psychonaut - Unfold the God Man
Label: Pelagic Records
Genre: Progressive Metal, Post-Metal
Silverstein - A Beautiful Place To Drown
Label: UNFD
Genre: Post-Hardcore, Pop Punk
My Dying Bride - The Ghost of Orion
Label: Nuclear Blast
Genre: Doom Metal, Gothic Metal
Viscera - Obsidian
Label: Unique Leader Records
Genre: Deathcore
Violet Cold - Noir Kid
Label: self-released
Genre: Blackgaze, Electronic, Trance Metal
Wake the Dead - Still Burning
Label: Shield Recordings
Genre: Post-Hardcore, Punk Rock
submitted by VietRooster to indieheads [link] [comments]

Red v. Blue: Color Symbolism & Americana in Twin Peaks

Note: I'm writing this as someone who has watched the entire original series, Fire Walk With Me, The Missing Pieces, and The Return, as well as other features from Lynch's filmography (Lost Highway, Mulholland Drive, Elephant Man, Blue Velvet, Eraserhead); marked for spoilers now, do not proceed if you haven't seen them all. This is a longpost for Twin Peaks-obsessed nuts like me.
One of the things that remains a statement of the original incarnation (and thus, a statement by being substituted with HD digital cameras in The Return) is Twin Peaks's absolute mastery of the highly saturated 4:3 box TV aesthetic. I've heard Lynch was adamant the color palette not be corrected to a grittier, desaturated version when execs received the tapes. It's part of what's made so many iconic sequences and shots from the original run hallmarks of Tumblr and Instagram accounts aplenty. Twin Peaks came (and could be argued, ushered) on the precipice of a major shift in the television format. We would see the contemporary form of television media developed further with shows like The Sopranos in the HBO prime cable era, or The X-Files (no wonder Chris Carter plundered Twin Peaks's cast for his own attempt). As a marker for the end of the 80s and its preceding decades though, in many ways Twin Peaks to spoke to a form of TV largely since faded: soap operas and sitcoms and serials. It's part of why I loved the metatextual inclusion of the soap opera Invitation to Love, allowing the show to reference its own stylized dramaturgy.

Jade & Emerald... Jade give two rides, hm?
Very specifically, I find the series loves to riddle blue and red, like one oni to another. Fire and water. Hot-cold (like the shivery feeling Audrey gets when she holds an ice cube on her bare skin for a long time). The red and blue on Mike's TP varsity letterman jacket could be the most striking and concise marriage of this dynamic pairing. Donna & Maddie dive into this in the season 2 opener, scheming at the Double R (docked points for the silly jailhouse seduction routine by Donna, though). Subtler in palette but more obvious in Americana, Major Briggs's omnipresent blue uniform incorporates red in his breast patch (and Don S. Davis's ruddy-warm complexion, imo) speaking to his inherent patriotism as part of the Air Force. On more than one occasion Big Ed is spotted with a red & blue flannel.
Much to be said about the pairing of Bobby & Mike, comparing to BOB & MIKE; MIKE saw the face of God, but Bobby is the one who saw the light in this duo.
The flashing lights of a cop car. Dr. Jacoby's iconic 3D glasses-flavored shades (note that Jacoby and Ben both hailed from the Robert Wise-directed 1961 film adaptation of West Side Story, the famous 50s musical depicting rival gangs experiencing a Romeo & Juliet plot amidst culture clash in NYC). Lil the Dancer, communicating through expressive dance a coded message in FWWM. A barbershop quartet in the background behind Coop & Albert in "Coma".
I believe it's The Secret History of Twin Peaks book that is paired with red and blue filter lenses, so you can view certain hidden information? Either way, Lynch likes his 50s/60s Americana; reminds me of Castle Horror gimmicks.
The blue flower was a central Romanticism symbol; as blue roses don't occur in nature, they hold an air of mystery and fantastic possibility. Tennessee Williams used the blue rose to symbolize the fragile & unique character Laura(!!) in The Glass Menagerie.
The sign outside One-Eye Jack's. Red pairs often with green or black in gambling/casino situations; from the card deck motif for the sex workers to the mix-match patches of a roulette wheel. The malfunctioning lift for Leo in "The Orchid's Curse." The stage behind Julee Cruise during Roadhouse performances, especially "Lonely Souls." Even though the Red Room is known for its red, we see eventually that the Lodge holds strobing blue lights and the milky cataracts of doppelgangers. In a more peaceful sense, blue light washes over Laura as she smiles in the Lodge at the end of FWWM, reunited finally with her angel.
You can practically hear the buzz of the neon zapping into life from here. Knowing how important electricity is to Twin Peaks, these little details really stand out.
Ben and Jerry, at various times, switch between the two to complement each other much like the Miser Brothers. We also see it in Ben's interactions with Catherine; their affair in "Traces to Nowhere" finds Catherine clad in a powdery blue blanket, Ben's fiery tie, Catherine's ruby toenails (sidenote: not a fan of the Tarantino interaction). We see more of this Ben-Catherine color scheme in "Cooper's Dreams" during the Iceland convention with Leland's impromptu dancefloor breakdown. Ben, as central locus for Twin Peaks's criminal element, seems to be a lightning pole for these color dynamics. Notable is his integral need as a character to keep his publicly clean image and seedy underworld dealings separate, the perfect human symbol for Lynch's sequence in Blue Velvet's intro depicting the rotting & squirming insects buried beneath the idyllic Levittown surface of Lumberton. And Ben, even beyond his perennial cigar, enjoys many scenes by the fire of a hearth.
Ben floats through the two by himself on a regular basis, which I think ties into his role as the uber 80s corporate & cold American businessman, espousing social niceties & charm but hiding his sinister and impulsive skeletons in the closet. It's almost like he should be Lodge, but he's only run parallel to it as a human being.
Likewise, when it comes to the Lodge, BOB and the Man from Another Place/The Arm make a perfect red-blue pair. I noticed this especially in FWWM during the chaotic convenience store sequence. Given that during the night the sky can range from black as a cup of Coop's coffee to a Prussian shade, by following a Goethe color theory mindset, we can admit "Blue is a darkness weakened by light." BOB never comes off weak, but as a possessing spirit, for the viewer, his sudden appearances/reveals herald a (at times literal) spotlight into the black oil that is his essence (follow this link for a Youtube vid that informed some of my own theories). Goethe characterizes blue as common (think of country folk and bikers and truckers), as well as cold and melancholy, powerful. Red is much easier for The Arm; in addition to evoking the Christian iconography of a devilish imp figure, he is pure fire, the kind that truly walks with you (Goethe considers red as beautiful, dignified, closer to the essence of light; perhaps this echoes the Neoclassical Venus statue found often with Red Room curtains, or the red lipstick of the various beautiful women commonly prey to Twin Peaks).
BOB's always clad in blue denim to match The Arm's impish red suit. Noticeable since they remain the two most active agents as Lodge creatures, continuing the BOB/MIKE dualism that existed pre-show.
Given the only color left to throw in is white (HMM,, White Lodge? Sarah's pale horse? Leland's hair? The stuffed arctic fox in Ben's office? That weird long-faced elk thing at the Packard-Martell house? Pete and Coop enjoying/trying to order a mug of milk? The Tremond/Chalfont boy's white mask?) and you have the Star-Spangled Banner itself (the mini-flag at Twin Peaks Sheriff's office that flanks Coop while he's sitting across the table from Dr. Jacoby, as well as Coop's fixation on the full-sized incarnation while he's in the Bros. Fusco's office during his Dougie stint in The Return, are just two instances). Notable as a tri-color national aesthetic, red white & blue sometimes finds its way back in altered forms: straightforward visual representation with the Icelandic investors, as well as more tonally & artistically-derived influence from Lynch's favorite country (we'll forget the agonizing French hookup leaving scene from The Return and think more of Monica Bellucci's dream sequence, or Ben & Jerry orgasming over fresh baguettes with brie).
Great shot from Tim Hunter here.
Part 9, \"This is the chair.\" I remember this sequence being a spark of sorts, tantalizing to see Coop stir somewhat from his Dougie stupor.
While it should come as no surprise an American show would have many American-specific themes, I'm often convinced that Lynch is using the visual shorthand to simultaneously sing, criticize, celebrate, and reflect on what it means to be America. It is not coincidence that Dale Bartholomew Cooper's name reflects the notorious Pacific Northwest hijacker D.B. Cooper, or Harry Truman with the 33rd President (who, mind you, ordered the atomic bombs dropped in WWII). Or Franklin "Frank" Truman with the 32nd, for that matter. Coop openly ponders the Kennedy assassination (itself rife for conspiracy theories and speculation, much like TP) in a log to Diane, as well as Marilyn Monroe's involvement with the family; who else is Laura Palmer but a hometown Monroe?
Much like D.B. Cooper, Coop took a historic leap.
I would love to dig down deep and really review all of his work to understand more about Lynch's fixation on Lincoln (a portrait is in the Donna/James classroom when Laura's death is announced; a dramatic shot in Blue Velvet fixates on Lincoln Street which divides the town's good/bad parts & has an antagonist by the name of Booth; the "Gotta light?" Woodsman in The Return).
Now if someone could explain this connection... Dick says this right before the fire alarms go off and swamp Leland with water while BOB rams Leland's head in to break his last vessel and escape from justice.
Why Lincoln? I refer to it as The House Divided. Lincoln is one of the most recognizable presidents, partially due to his assassination (Kennedy echo), partially due to his role in the Civil War and how America resolved its most divisive internal conflict. He's emblematic of the Old America and the New America, slavery and post-slavery, secession and preservation. Somewhat like Republicans & Democrats, red v. blue. We know the toy Lincoln Logs, we hear the term Lincoln Lawyer, he's even one of the faces on Mt. Rushmore (referenced explicitly in The Return - "There they are Albert, faces of stone"- as well as compositionally in "Cooper's Dreams"); given the existence of both a Black Lodge and White Lodge in mythos, I think it's safe to draw at least some broad comparison to black America and white America (as well as Windom Earle's fetish for chess). Even as a goofier entry during Season 2's decaying period, Ben's mental lapse into General Robert E. Lee and fixation on the Civil War (mirroring Johnny Horne's fixation with the indigenous headdress and colonist America) gives some meat to this motif. Although it's never quite outright verbalized in show, one gets the sense that America is inherently built on some original sins. The water in the well was poisoned before the Trinity test
Notable too for the context of having Hawk (Nez Perce) included in this recreation. Mt. Rushmore was originally a sacred place for the Lakota Sioux; its present condition is considered desecration to their culture. America in its current incarnation was founded on the genocide and forced relocation of its indigenous peoples; Twin Peaks is loaded with Native American patterns and imagery, i.e. The Great Northern.
Note as well that red, by itself, can easily be tied to Twin Peaks's lifeforce, and by extension Lynch's entire repertoire. Fire. Red velvet curtains. Lipstick and nail polish. Blood. Pete's fisherman flannel. Audrey's heels, and her cherry trick. Norma's cherry pie. Log Lady's frames. "Let's rock" on Agent Desmond's car in FWWM. The women at One-Eye Jack's. The blooming roses peaking through white picket fences in Blue Velvet. The vast majority of neon signage (The Roadhouse especially). The traffic light at Sparkwood & 21. Leo's ostentatious Corvette. The lifeline zigzags on the high school walls. MIKE, in Philip Gerard, is fond of red tops, connecting him directly with The Arm. Much is made of Twin Peaks's proximity to Canada in the original series; the corrupt Mountie during the internal investigation arc stands out. The balloons at Dougie's corporate plaza. The Scarlet Letter. Lancelot Court, red door. Laura Palmer's Secret Diary.
Night time, my time. Red can be a carnal color, igniting passion, but also a warning to stop, turn back. Often we find it in the company of characters who have experienced a lot in Lynch's world, and not too much good.
And blue too. Blue is much more sparing in Twin Peaks, to greater mystical effect. Blue Rose. Laura's cold lips in the Pilot. Blue Velvet. Isabella Rossellini's dramatic eyeshadow as Dorothy Vallens. The waitress outfits at the Double R Diner. Leo's button-down when Shelly shoots him. The light in the morgue as Hawk tails Philip Gerard. The lifeline zigzags on hospital monitors (how they spike with Ronette, how they fall flat when Leland strangles Jacques). Ronette is swaddled in soft blue blankets during the S2 opener, her tilted head recalls Marian imagery (interesting from a Madonna-Whore complex standpoint); two episodes later her IV drip is tainted with blue dye, a visit from BOB. Maddie Ferguson's nightgown during her carpet-stain vision. Coop's iconic jammies. Rita's blue key & Betty's blue box in Mulholland Drive. The woman's hair at Club Silencio. Whenever television sets or camera footage shows up onscreen in Twin Peaks, there's a noticeable cool blue tint: think of that first tape, Laura & Donna dancing in the woods; the static showcased in the opening credits to FWWM; the footage of Coop gambling, obsessed over by Jean Renault. Gordon & Albert speaking together after meeting with Mr. C and watching Tammy walk away. Flashes of lightning. The sign at the Luna Lounge, where Fred Madison plays his discordant sax solo in Lost Highway.
Two dead girls wash up in the water. Calhoun Memorial's morgue stays bathed in blue light. Louise Bourgeois claimed it as hallmark, stating blue left behind \"the drabness of day-to-day reality\" for \"a world of freedom\", inner truths. BOB is certainly free.
Beyond red and blue, the colors I tend to notice in Twin Peaks are pink and green (notable for following a warm/cool polarization as well), which do not concern themselves to the same extent with Americana, if at all. Pink is much more sparse in its application, typically feminine: Nadine's prom dress during her suicide attempt in the S1 finale; Naido/Diane's bathrobe in The Return; the drapes behind the new One-Eyed Jack's girl Ben sleeps with in "Zen" (purposefully designed to evoke a vagina, in my opinion); fudging into purple, but we can count the Mauve Zone and Coop's run-in with Naido to an extent; Gersten Hayward's princess outfit during her piano performance for the Palmers; the trio of Candie, Mandie & Sandie; the gut-churning Pink Room sequence from FWWM with Laura & Donna.
Candie was a surprising standout for The Return. I felt these girls were a commentary on One-Eyed Jack's in the way the Mitchum Bros. were commentary on Ben & Jerry; where Ben & Jerry enjoyed public acceptance but indulged in dark secrets and ran through vulnerable sex workers, Bradley & Rodney have a dark reputation/entrance but ultimately possess hearts of gold, rescuing at-risk women like these three.
Green is more expansively utilized, and supernatural in tone: the billowing leaves of those Douglas firs in an ominous breeze; the iconic Twin Peaks font's outline; the guiding light we see through Dougie's eyes (which I assume has always been a part of Coop's psyche and intuition); Dougie's iconic oversized jacket; the infamous Owl Cave ring; the vintage lampshade adorning Ben's desk; the childhood bike Ben fondly recalls in The Return; the framed picture of the tall pine in the Sheriff's Department lobby; the tiny fir stuffed by the partition in the Palmer household; Jade & Emerald, even. Ben says to Leo, conspiring to burn the mill in "The One-Armed Man" - "Three nights, Leo. Green light." Something about it reminds me of Jay Gatsby's over-analyzed yearning green light from the F. Scott Fitzgerald classic; the idea of the American Dream with wanton capitalism, and how it's impossible to achieve (am I crazy for thinking there's a connection between Big Ed's Gas Farm's neon egg sign and the West Egg/East Egg class divide?).
Of course, the owls are watching. Much like the eyes of Dr. T.J. Eckleburg.
Ed's business harkens to how convenience stores (early-to-mid-century modernist American consumerism) were both the pumping blood and desiccated bone of our culture, as well as the Woodsmen womb. It also reminds me of old-style egg timers, and what is Twin Peaks but a show obsessed with the manipulation and perception of time? Was it the chicken or the egg that came first? Is it future or is it past?
By the time of The Return, we have lost these overly saturated tones, but the direct symbolic use of color is still integral to a Peaks viewing. I find it even more interesting that The Return made extensive use of black & white footage. Eraserhead and The Elephant Man alike (I've found both hold the spores for concepts and aesthetics fully developed in Lynch's later filmography, like the chevron Lodge floor pattern we all dearly love) were filmed in this manner; I feel Lynch chose this as nod to this earlier work, as well as the old formats of pre-color TV and film, like WWII newsreels. I find it relevant as well that older generations dream in black & white, a vanishing phenomenon which is directly related to the media of their era. B&W film informed the visual rhetoric of their unconscious minds; we, as younger Americans, dream in Technicolor.
This is the first shot we see of The Elephant Man. Notice how this is specifically his left arm, hand floating over the flame. Later in the film during a particularly moving sequence, Merrick first proves he is capable of speech for the first time by reciting the 23rd Psalm in a louder and louder tone, mirroring Annie Blackburn's prayers while Windom Earle led her bound into the Lodge.
The black & white sequences occur within the Lodge, relate directly to the Lodge - may Part 8 live forever in its atomic power - or otherwise involve unexplained phenomena (Cole's Monica Bellucci dream). By the time of The Return, a disconnect with the past and nostalgia is a core theme. The colors have faded. Coop, a half-baked shadow of himself, only gets restored by the chance mention of Gordon Cole's name in Sunset Blvd. Note Billy Wilder's 1950 film revolves around an aging actress lost in the reverie of her long-gone prime. (Also note her insistence, when William Holden's character asks her about the Salome film script, she's not conducting a "comeback" but a *return*; this, I feel, ties in as well to Major Briggs's underappreciated vision scene, emphasizing the idea of a return.) Although not shot in black & white, Pete, assisting Catherine as she tears apart their library, pauses for a moment during "The Last Evening" to linger on his high school yearbook. He's lost in the old pre-color photos, in the memory of Midge Jones, a man we never know. He's returned to a place in his youth, much like Garland's return to the gleaming, radiant marble of the fantastic palazzo in his S2 vision.
These two live in a retro-futurist Art Deco fever dream, accompanied the very appropriate Slow 30s Room soundtrack piece. Everything about the Fireman & Senorita Dido tells me of an America past its prime. I'm also convinced this was what Lynch envisioned for Briggs's palazzo; if only Don S. Davis was alive for The Return.
There's a plethora more I could get into, definitely for another thread: the preoccupation with trinities, animals, rings, technology, fine art references, and sonic elements are on my mind as well. I need to rewatch The Return again soon so more connections and thoughts are present. Let me know if you guys enjoyed this rambling mess!
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