Horror Cinema Over the Years

I’ll be the first to brand myself a weenie when it comes to spooky stuff, but relatively recently, I’ve become more fascinated with the horror genre. I think it’s the psychological aspect of it that intrigues me. Why do we fear what we fear? What part of what scares us is rooted in primal, evolutionary mechanisms, and how much is learned? How do different cultures manifest their anxieties?

One thing’s for sure: horror has been around as long as we’ve been telling stories. This much becomes evident in the mesmerizing video by Diego Carrera called “A History of Horror,” which chronicles some of cinema’s most iconic scares from the advent of film to present day. It’s fascinating to watch the progression of frights from pure spectacle to more sophisticated psychological horror.

A History of horror

We use art and pop culture as a means of discussing and understanding the questions and fears that plague us. And although entries in the horror genre are often placed on a lower rung of the proverbial pop culture ladder, we can use these works as a means to explore the recesses of our cultural consciousness. Recent flicks like It Follows and The Witch have deftly subverted and redefined genre conventions, proving that there is still much to explore within this familiar realm.

Plus, it’s just fun to be spooked sometimes.

-Alyssa

 

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Hamilton: A Masterful Musical

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Yes, I’m most definitely late to the party, but I intentionally put off listening to this musical until after I had wrapped up my master’s degree. You see, once I heard that Hamilton’s main components were musical, hip-hop, and history, I knew I would be hooked, and would need ample time to obsess over it.

Turns out I know myself well. When I finally got around to checking it out, I listened to it three times in as many days.

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The musical, penned by and starring Lin-Manuel Miranda, hit Broadway in August of 2015 and tells the story of Alexander Hamilton, a man who fought for and helped form America into the nation we know today. It sports dazzlingly deft lyrics, plenty of powerful moments, and a skillful repetition of motifs that merit repeat listenings to get the full effect. Much has already been said about the musical, and really, it speaks for itself, so I’ll just offer up a few moments that I particularly enjoyed:

  • The three songs sung by King George III to the colonies, taking place during the revolution, immediately after the revolution, and after George Washington’s presidency. They’re written to sound like break-up songs and they’re just tons of fun. Jonathan Groff plays the most delightfully simpering king this side of Jesus Christ Superstar’s King Herod.
    Oceans rise, empires fall. We have seen each other through it all. And when push comes to shove, I will send a fully-armed battalion to remind you of my love!”
  • “Dear Theodosia,” a song for two characters who just became fathers. I’ve never been a parent, but I feel that this song captures the overwhelming love, wonder, and devotion a new parent must experience.
    “When you smile, you knock me out, I fall apart and I thought I was so smart.
    We’ll give the world to you and you’ll blow us all away.”
  • Portraying cabinet meetings as rap battles. Tensions are high in the afterbirth of a new nation. Heads butt and tempers flare as individuals clash and try to determine what kind of country America will be. (That’s another thing this musical does well: it reminds us how personal and messy politics are, thus transforming the idealized versions of the Founding Fathers we knew into real people with flaws, emotions, and agendas.)
    If we assume the debts, the union gets a new line of credit, a financial diuretic. How do you not get it? If we’re aggressive and competitive, the union gets a boost. You’d rather give it a sedative?”
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  • “Who Lives, Who Dies, Who Tells Your Story,” the final song of the musical, a heart-wrenching, cathartic testament to legacy, to wonderings of what makes a life well-lived, to the impact we can make on the world in the short time we’re given.
    And when my time is up, have I done enough? Will they tell my story?”

Hamilton is not only an achievement of musical theater, but also of American history and storytelling. It draws cultural attention to an important figure in our nation’s history who, until now, was known mainly for the duel that claimed his life. Were it not for Miranda’s transformative work, I would never have known that Alexander Hamilton’s story is the quintessential immigrant story—a rags-to-riches tale with the pathos of a Greek tragedy.

-Alyssa

Bonus: A really cool Wall Street Journal article that breaks down the rhyme structure used throughout Hamilton with vibrant graphics and an algorithm

Bonus, Part II: Lin-Manuel Miranda and I share the same favorite podcast (My Brother, My Brother and Me) and slipped one of the brothers’ catchphrases into Hamilton as a subtle send-up. MBMBaM fans can listen for it in the track “We Know.”

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Zootopia: A return to greatness for Disney

zootopia-movie-posterI’ll be the first to admit that I had little to no interest in seeing Zootopia after the first and even the second trailer came debuted (a DMV run by sloths is a funny gag, but not enough to sustain a two-and-a-half minute trailer). Quite simply, it looked like a concept that had been done a million times before: anthropomorphic characters living in a human-less society. However, to my genuine delight and surprise, the trailers simply didn’t do the film justice. There’s a lot to love about Zootopia.

Zootopia is one of those rare films that equally enjoyable for kids and adults. It was clever enough to keep me laughing throughout (no gross-out humor or mean-spirited snark to be found), and had enough pathos to bring a tear to your eye. The world (particularly the sub-biomes within the city itself) is lush and vibrant. Basically, Zootopia knocks visual and emotional appeal straight out of the park.

The basic plot is thus: two main characters, Judy Hopps, a rookie bunny cop, and Nick Wilde, a con-artist fox, find themselves embroiled in a Chandlerian mystery involving missing mammals. They must delve into the seedier sides of the supposedly idyllic Zootopia and confront not only nefarious critters, but also the prejudices that come along with living in such a diverse society. Surprise, surprise: in a world where wolves and sheep live side-by-side, there’s some friction.

What impressed me most was how deftly the film uses its subject matter to drive discussions about race, prejudice, and stereotyping. Judy has to overcome the hurdle of being the first bunny cop, and all the roadblocks that come along with it: being underestimated, being talked down to, and dealing with those who see her as a “token bunny” hire.

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Judy isn’t the only character facing negative stereotypes. As a predator, Nick has had to deal with comments like, “He’s just naturally aggressive. It’s in his DNA,” his whole life. After a traumatizing childhood incident, Nick becomes cynical about the idea of peaceful co-existence, deciding that if the world will only ever see him as predatory and untrustworthy, then there’s no point in trying to change anybody’s mind.

One of my favorite parts of the movie is that the writers didn’t make Judy a perfect beacon of tolerance and acceptance just because she’s fighting against prejudice herself. Despite how open-minded she tries to be, she still carries negative stereotypes about foxes (note: much of her prejudice is passed down to her by her parents) and, when she first sees Nick, she automatically assumes he’s up to no good (which he is, but that’s not the point). And, after her first interaction with Nick, she even slips into a bit of condescension herself, complimenting him on how “well-spoken” he is. The film drives home the point that racism and prejudice is something we all learn, and all have to work to unlearn.

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Zootopia deserves praise for refusing to slap an easy ending onto a complex story question. The film could have ended as so many other Disney films have, with a nice but simplistic message such as, “Follow your dreams and everything will work out.” In fact, the film cheekily derides that easy sentiment by having characters spout off lines like, “Life isn’t some cartoon musical where you sing a little song and all your insipid dreams magically come true.” The movie drives home the point that yes, you can step out of traditional roles and break down stereotypes, but it is a process, both difficult and extremely worthwhile.

On top of being a funny, gorgeous, highly entertaining movie, Zootopia has a great message and a lot of heart. I’m gonna close with the film’s concluding monologue and let you decide if this movie is worth your time. It was absolutely worth mine.

I thought this city would be a perfect place where everyone got along and anyone could be anything. Turns out, life’s a little bit more complicated than a slogan on a bumper sticker. Real life is messy. We all have limitations. We all make mistakes. Which means, hey, glass half full, we all have a lot in common. And the more we try to understand one another, the more exceptional each of us will be. But we have to try. So no matter what kind of person you are, I implore you: Try. Try to make the world a better place. Look inside yourself and recognize that change starts with you.

 

-Alyssa

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LOVE STINKS: An Anti-Valentine’s Day Playlist

Single peeps, lemme rap with ya for a minute. We all know that, for the most part, being on your own is pretty great. But there are some days where you feel like the only person in the world who isn’t in a deep, committed, Westley-and-Buttercup-style relationship. And that can feel pretty un-righteous, ya dig?

Earlier this week, I found myself in the throes of this particular brand of malaise, so naturally I looked up a classic bit from Adam Sandler’s The Wedding Singer to cheer myself up a little. It did the trick. After all, sometimes the best cure for an unpleasant mood is to wallow in it.

Watching that video got me thinking about other songs in the same vein as “Love Stinks.” I scribbled them down, and before long, I’d devoted a solid afternoon to crafting a playlist dedicated to the many stages of single-ness, from bitterness and melancholy to revelry and hope for new love.

Whether you’re a lone wolf or have been struck by Cupid’s arrow, please enjoy this weird little playlist, mostly cobbled out of songs I found on my iPod. You can listen to the whole thing on Spotify or check out the individual songs below.


Stage 1: BITTERNESS/ANGER/RESENTMENT

For when you’ve been hurt and you’re fed up with it all 

“Love Stinks” The J. Geils Band

You love her
But she loves him
And he loves somebody else
You just can’t win
And so it goes
Till the day you die
This thing they call love
It’s gonna make you cry

 

“One More Minute” “Weird Al” Yankovic

That’s right, you ain’t gonna see me cryin’
I’m glad that you found somebody new
‘Cause I’d rather spend eternity eating shards of broken glass
Than spend one more minute with you

 

“The Chain” Fleetwood Mac

And if you don’t love me now
You will never love me again
I can still hear you saying
You would never break the chain

 

“No Children” The Mountain Goats

And I hope when you think of me years down the line
You can’t find one good thing to say
And I’d hope that if I found the strength to walk out
You’d stay the hell out of my way

 

“White Blank Page”/“I Gave You All” Mumford & Sons

Tell me now, where was my fault
In loving you with my whole heart


And you rip it from my hands
And you swear it’s all gone

And you rip out all I had
Just to say that you

 

Stage 2: MELANCHOLY/REGRET/LOSS

Because you’re not really alone when you’ve got all those memories to keep you company

“Mess” Ben Folds Five

But I don’t believe in love
And I can’t be changed
All alone as I’ve learned to be
In this mess I have made

 

“April Come She Will” Simon & Garfunkel

August, die she must
The autumn winds blow
Chilly and cold
September, I remember
A love once new
Has now grown old

 

“Goodbye” Elton John

I’m sorry I took your time
I am the poem that doesn’t rhyme
Just turn back a page
I’ll waste away

 

“I’m Not The Only One” Sam Smith

You and me, we made a vow
For better or for worse
I can’t believe you let me down
But the proof’s in the way it hurts

 

Stage 3: FREEDOM/REVELRY/RELIEF

Good riddance to the past, time to live for the now

“Tainted Love” Soft Cell

Don’t touch me, please
I cannot stand the way you tease
I love you though you hurt me so
Now I’m gonna pack my things and go

 

“Rumour Has It” Adele

But rumor has it he’s the one I’m leaving you for

 

“Ex’s & Oh’s” Elle King

One, two, three, they gonna run back to me
‘Cause I’m the best baby that they never got to keep
One, two, three, they gonna run back to me
They always wanna come, but they never wanna leave

 

“Single Ladies (Put a Ring on It) Beyoncé

I need no permission, did I mention
Don’t pay him any attention
‘Cause you had your turn
And now you gonna learn
What it really feels like to miss me

 

Stage 4: WISTFULNESS/LONGING/HOPE

For rebuilding, and for when you’re ready to dream of love again

“I Want to Break Free” Queen

But life still goes on
I can’t get used to livin’ without, livin’ without
Livin’ without you by my side
I don’t want to live alone, hey
God knows, got to make it on my own

 

“All These Things That I’ve Done” The Killers

Another head aches, another heart breaks
I’m so much older than I can take
And my affection, well it comes and goes
I need direction to perfection, no no no no

 

“This Too Shall Pass” OK Go

You know you can’t keep lettin’ it get you down
And you can’t keep draggin’ that dead weight around
If there ain’t all that much to lug around,
Better run like hell when you hit the ground
When the morning comes

 

“Everything Will Be Alright” The Killers

I believe in you and me
I’m coming to find you

If it takes me all night
Wrong until you make it right

 Everything will be alright

 

Happy V-Day, everybody!
-Alyssa

 

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Let Us Give Star-Spangled Thanks

Between Donald Trump and Burger King’s black-bunned Whopper, it can be kind of hard to find things to be thankful for on this most American of holidays.

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Seriously, what did we do to deserve this? Actually, don’t answer that.

Thankfully, when I find myself in times of trouble, Captain Rogers calls to me, speaking words of wisdom: “I’m with you ‘til the end of the line.”

The trailer for Captain America: Civil War just dropped, and it’s heavy on the gut-punches, both literal and figurative. I knew this movie was going to leave me a blubbering mess from the first scene in the trailer, when Steve finally finds his best friend Bucky—and Bucky remembers him.

Then we see Tony Stark and Steve falling on very different sides of a government mandate to comply with the Superhero Registration Act. We also get a pretty powerful exchange between Cap and Stark/Iron Man:

Steve:
Sorry, Tony. You know I wouldn’t do this if I had any another choice. But he’s my friend.

Tony:
So was I.

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[Sidebar: This scene would have a lot more umph if Joss Whedon had, y’know, actually built up a friendship between these two instead of just having them exchange barbs and posture at each other over the course of two movies, but I digress]

Captain America is my favorite Marvel superhero (and perhaps my favorite superhero, period) because he represents the best of America. He’s selfless, compassionate, and does the right thing not because it’s easy or politically advantageous, but because it’s the right thing. He stands by the defenseless and stands against purveyors of hate, fear, and greed. I actually think we’d be in less of a mess as a country if more people and politicians asked themselves What would Steve Rogers do? before they made a decision.

So, while Civil War won’t be out until May of next year, we can take heart knowing that, in the Marvel cinematic and comic universe at least, there exists an America where a good-hearted kid from Brooklyn defends the values we should all strive to uphold.

Happy Thanksgiving, everybody. And God bless (Captain) America.

-Alyssa

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Lemme gush for a minute about the Nightmare Before Christmas soundtrack

I have inordinately strong feelings about The Nightmare Before Christmas soundtrack. It’s the first movie soundtrack I was ever exposed to (the movie came out when I was only a few years old, so I heard the score before I ever saw the movie). It’s also the soundtrack that began my love of and appreciation for movie scores.

It began in late October of 1993, when my dad saw the movie with his sister and brother-in-law when it first hit theaters. He was immediately taken with the film, not only for its arresting visuals and charming story, but also for its dynamic, vibrant score. He sat through the end credits, listening to the reprises of the highly memorable motifs sprinkled throughout the film. He went hunting for a copy of the soundtrack as soon as he left the theater, but found out that it wouldn’t be released for a couple more months. So he asked for it for Christmas, and thus, the beloved cassette tape entered into our lives.

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My dad was a stay-at-home dad, and neither of my parents were overly enamored with the idea of daycares. As a result, my brother and I spent a good amount of time in the car, accompanying my dad on whatever errands needed to be done. The Nightmare Before Christmas soundtrack was on a near-constant loop during our drives, and it wasn’t long before we knew every word of every song. More impressively, I eventually learned every note of every song. Even now, I can anticipate the entrance of every instrument, every key change, every crescendo.

In sixth grade, I joined my middle school’s band (I picked the sax, cool kid that I was). Being in band throughout middle school (and high school as well) helped me appreciate the nuances of my favorite soundtrack even more. I now could proudly confirm that that was an oboe leading that melody, or pick out the bassoon lurking in the background.

And the more I learned about music, the more astounded I became by Elfman’s score. Most other soundtracks I knew and loved were characterized by a single instrument or instrument group (horns, strings, percussion, etc.). This was not the case with TNBC. Listen to this soundtrack, and you’ll hear damn near every instrument shine.


Check out Jack’s Lament. Sweeping strings lead the melody at 1:13. There’s a lovely flute entrance at 1:22, and a jaunty sax solo at 1:41.


Or Dr. Finklestein/In the Forest. I love the fat, plodding bassoon and tuba at 0:28 and the mournful-sounding oboe at 0:48.


And finally, Christmas Eve Montage, my favorite orchestral track. Right out of the gate, it begins with explosive strings. Then it turns to trumpets and French horns at 0:06 and then a harp and an xylophone at 0:39.

It’s a rich, enduring soundtrack that I’ve grown to love more and more as the years go by. It sparked a lifelong love of film scores, and I’m so grateful that it exists. It has and always will hold a special place in my heart.

Happy Halloween, everybody!

-Alyssa

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My Spy Kids Marathon, Continued

Spy Kids 3(D): What If Willy Wonka Designed Video Games?
Okay, this is where things start to get a little… well… silly, let’s say. I’m… I’m just going to list some things that happen.

  • Carmen’s trapped in a video game so Juni has to team up with the nerdiest nerds ever to nerd in order to save her
Seriously, lookit these nerds.

Seriously, lookit these nerds.

  • Sly Stallone designed the video game and is trying to trap kids in it but is also trapped in the video game but is also schizophrenic and somehow not evil in the end
  • President George Clooney does his best Sly Stallone impression (it’s not bad at all)
  • Elijah Wood appears, only to die instantly
  • Ricardo Montalbán (henceforth “Grandpa Khan”) gets a virtual robot suit and chases butterflies on the Moon

This flick mostly exists to showcase a parade of obnoxious “3D” effects (Max and I tried to make a drinking game out of every in-your-face moment, but we quickly recognized this to be a poor life choice). However, all the weird, inexplicable plot points and random virtual obstacles are ultimately worth it for the inordinately satisfying showdown at the end of the movie.

Here’s the setup: Some robots start attacking the city and the Spy Kids™ decide they need some extra firepower to take ’em down. Enter… Mr. and Mrs. Antonio Banderas! Alan Cumming and his sidekick, Tony Shaloub! Steve Buscemi riding a flying pig! Cheech Marin! The Giggle siblings! Uncle Machete! Bill Paxton! Literally everybody shows up to kick some ass. And it may have been the delirium of sitting through approximately four-and-a-half hours of technicolor madness, but Max and I cheered aloud when these familiar faces showed up again. It felt like Rodriguez rewarding us for sticking with the franchise as long as we did (though that may have been a desperate leap of logic on our part).

If the last few minutes of #3 is Robert Rodriguez graciously shaking our hands for joining him for a fun evening, #4 is Rodriguez bludgeoning us with a tire iron for overstaying our welcome at his dinner party.

Spy Kids 4: What If We Made A Huge Mistake In Watching These?
spy kids 4
Coming off the hype of the showdown at the end of 3, Max and I braced ourselves for some disappointment. And man, this last film sure did not disappoint in the disappointment department.

There were virtually none of the characters we’d grown to (kind of) care about- just a couple of bratty kids and their talking robot dog (voiced by an astonishingly unfunny Ricky Gervais). Joel McHale plays the kids’ dad and, to his credit, he acts his heart out for this role. But his dad-ly earnestness cannot save this collection of poop and fart jokes Rodriguez tries to pass off as a movie.

Oh yeah- and it turns out the bad guy (surprise, surprise) ISN’T a bad guy at all and is just trying to manipulate time to see his dad again (I think). And we get another weirdly deep moment with our villain, Jeremy Piven (a la Steve Buscemi in Spy Kids 2):”Time is the enemy of youth,” he intones. “I’m getting mine back.” Okay, dude.

Spy Kids 4D: All the Time in the World ultimately lives up to its name, in that it seems to last for the duration of eternity.

 

Takeaways from this crazy-ass franchise:

  • Robert Rodriguez is actually really creative. Barring the outright badness of #4, I think most of my exhaustion after finishing the series could be likened to listening to a hyperactive 10-year-old tell a story for about 5 hours. After that much wild, zany inventiveness, I need a reality break.
  • Since Max and I both hail from Texas, we got a kick out of spying (haha) familiar filming locations throughout the series (Austin, Arlington, San Antonio). It’s always fun to say you’ve been to a place that’s shown up on a multiplex screen.
  • Maybe this is me reading too much into the series, but I spied (okay, I’ll stop) a couple of significant instances where Rodriguez works characters with disabilities into his plots. And the cool thing is that these moments are actually executed pretty skillfully. Grandpa Khan is reluctant to leave the virtual world where he can run and jump because he doesn’t want his grandson to think him any less a hero when he’s wheelchair-bound. The little brother in the last film is hard of hearing and wears hearing aids, but he’s no less capable than his older sister, who has no such disability herself. Good for you, Rodriguez.

And there you have it. I’m glad to have been your cinematic sherpa on a journey you had no intention of embarking upon yourself. I’ll keep you posted on any other ridiculous ventures I decide to tackle.

 

-Alyssa

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