tag:blogger.com,1999:blog-23957485049867056192024-03-12T22:26:05.376-04:00Oy with the Articles AlreadyReviews and essays about television, movies, and musicAntonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.comBlogger339125tag:blogger.com,1999:blog-2395748504986705619.post-13616586453210993682023-12-31T00:01:00.883-05:002024-01-01T17:10:14.873-05:00My 20 Favorite Television Shows of 2023<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCh7nAUq6_1MghrSWBg64tyR1IV1FD1raBhxkb0HtZkAMD6QOQv8510sgkZy7p2KcZws7i5kUTPOW8JW3RBVtI5UvdTXMLJ-4RyEOaETK7s5Hmx0jXfoietcqpWXSrGSo56QhEpOlTXhQbn_4qak9whbQu-ozhw2SIqDnbcVvAJDzs68vxCcDMWmQFoQ9M/s1920/Best%20of%20tv%20picture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCh7nAUq6_1MghrSWBg64tyR1IV1FD1raBhxkb0HtZkAMD6QOQv8510sgkZy7p2KcZws7i5kUTPOW8JW3RBVtI5UvdTXMLJ-4RyEOaETK7s5Hmx0jXfoietcqpWXSrGSo56QhEpOlTXhQbn_4qak9whbQu-ozhw2SIqDnbcVvAJDzs68vxCcDMWmQFoQ9M/w400-h225/Best%20of%20tv%20picture.jpg" width="500" /></a></div><br /><div style="text-align: left;">For the uninitiated, it's a yearly tradition for me to start this list by breaking down my relationship to television, counting how many TV shows I watched in full during the calendar year. In 2023, I had a healthy amount of 87, so the days of watching over 100 shows in a year are long in the rearview now. One difference here is I got so behind on TV that there were some shows I really wanted to get in under the wire that I didn't have time for. There are always things that I miss out on, but they're usually more of a "I'm mildly intrigued to check this out" case. This time, there are some heavy hitters that I just didn't get around to. Hell, there was a new season of <i>Black Mirror</i> in 2023 and I still haven't watched it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">So now more than ever, this top 20 you're about to see is not necessarily definitive, just my favorites of what I managed to cross off my watch list.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>The rules:</b> Shows are considered for this list based on their episodes that aired between January 1, 2023 and December 31, 2023. This used to be a big thing when people watched more network shows where the seasons bled into the new year, but it doesn't factor in as much. Although this year some shows like <i>The Curse, For All Mankind, </i>and <i>Fargo </i>are doing this annoying thing where almost all of the season aired this year but then the last two episodes are going to bleed into 2024. That's stupid! I hate it!</div><div><br /></div><span><a name='more'></a></span><div><br /></div><div><b>Honorable Mentions (25-21)</b></div></div><div style="text-align: left;">There was nothing on television remotely like <b><i>How To with John Wilson </i>(HBO)</b>, the expansive video essay series that captured the spirit of New York and humanity at large in its winding, unpredictable episodes. <i style="font-weight: bold;">It's Always Sunny in Philadelphia</i> <b>(FXX)</b> is the Lebron James of television, performing at a high level far past anyone thought humanly possible. Though <b><i>The Buccaneers</i> (Apple TV+)</b> initially starts off as a thin modernized update of Edith Wharton's novel of the same name, it eventually evolves into a rich, emotional story that's well worth your time. Brit Marling and Zal Batmanglij's offbeat sensibilities blend well with the traditional whodunnit setup in <i style="font-weight: bold;">A Murder at the End of the World</i><span style="font-weight: bold;"> (FX)</span><i>. </i>The march of progress continues apace on the yet-to-be completed fourth season of <b><i>For All Mankind</i> (Apple TV+)</b>, where the expansion of the Mars settlement project has introduced a fascinating upstairs-downstairs dynamic that's kept the show fresh as it enters middle age.</div><div style="text-align: center;"><div style="text-align: left;"><br /></div><b><br /></b></div>
<div style="text-align: center;"><b>20. Servant (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmQ10UWOWbCBDohxiUrOHBMtTqd2b9Lna1lqR44_oq7nZVmGVIGoi9JvbQiTEHBlg5RpQGJuwPPv6qeANG6SxZFhmNxbX0Dv6JUfgmlmIYOmn5EIim_FcueJvLaHNSHOEyWsDH9Lh7tt7gF-R5AktrX3p_FXyTmstskl-b46nPQDdd16IbzhLRLcKTS58/Servant.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="944" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmQ10UWOWbCBDohxiUrOHBMtTqd2b9Lna1lqR44_oq7nZVmGVIGoi9JvbQiTEHBlg5RpQGJuwPPv6qeANG6SxZFhmNxbX0Dv6JUfgmlmIYOmn5EIim_FcueJvLaHNSHOEyWsDH9Lh7tt7gF-R5AktrX3p_FXyTmstskl-b46nPQDdd16IbzhLRLcKTS58/w400-h228/Servant.jpg" width="450" /></a></div><div style="text-align: left;">Final seasons are worrisome under any circumstance, but they're particularly tricky to pull off when your series has an element of mystery to it. Will you be able to tie up loose ends and answer every question put forth throughout the show's run? And will those answers be satisfying and logically sound? <i>Servant</i>, Apple TV+'s excellent M. Night Shyamalan-produced supernatural thriller, managed to hit more than it didn't in its fourth and final season. Not everything worked -- including a series finale that was a bit of a dud -- but it landed the plane in all of the ways that matter, most notably the biggest dangling thread hanging over the entire series. Season four continued to push the limits of visual storytelling on the small screen, as well as its own wild narrative turns, always taking things in unpredictable and deliciously strange directions. And when the journey is such a jolt to modern television conventions, what does it matter that the destination isn't perfect?</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>19. Dave (FXX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5p5VodROTQsEqyIF5I8xCNwMycnSbpylBVZt0CptXLew7Y0b0TCSHmiabXpq8WeI3wpRpmOYqXR-mbuY2DJA7Bu2KFXI9u5zjZiM31HtRVhO15c0Ap490uE6JAoga1ltthDL9cgqF7OgEoRfUuzRANV_vVP2sF8UdHZOVe70U6TEx8FrupJf25ETDzXmh/Dave.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5p5VodROTQsEqyIF5I8xCNwMycnSbpylBVZt0CptXLew7Y0b0TCSHmiabXpq8WeI3wpRpmOYqXR-mbuY2DJA7Bu2KFXI9u5zjZiM31HtRVhO15c0Ap490uE6JAoga1ltthDL9cgqF7OgEoRfUuzRANV_vVP2sF8UdHZOVe70U6TEx8FrupJf25ETDzXmh/w400-h266/Dave.jpg" width="450" /></a></div><div style="text-align: left;">Everything that <i>Dave</i> does should be a misfire. The cavalcade of guest stars this season (Killer Mike, Kylie Jenner, Usher, Jack Harlow, Rachel McAdams, Drake, etc.) could come off as the desperation move of a show resting on its laurels. Every Black character having an "oh snap, White Boy can rap..." moment feels like Lil Dicky trying to get the validation he's always wanted in real life through his fictional counterpart. And season three's focus on Dave finding love sounds insufferable on paper. But despite the odds, <i>Dave </i>remains a hilarious show with an easygoing magnetism. Season three takes things on the road, which proves to be a great spine for the story, and allows for interesting variation between episodes in different stops around America. Shows about striving tend to have trouble when their protagonist finally finds success, but so far <i>Dave</i> has navigated that territory with aplomb.</div><div style="text-align: left;"><span style="font-weight: 700;"><br /></span></div></div>
<div style="text-align: left;"><b><br /></b></div><div style="text-align: center;"><b>18. I Think You Should Leave (Netflix)</b> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYXv7eKgjuBogad_mmnRxlTnmIgEHxe-fbQjHzOGBv23h0uEDB1yziJ7_EwJ1bf17_i9oPOKav50KswtkHbPJpjoM49d0fO8UVsTojmtBdZ_J1_cImAunEgGjMzXGqTDcPSksFqFfVb0Zwp-Pfj-q5mcgCrp3xG-CWqa3pnrxcNlqVGlrChUp-MhR3BfY/I%20Think%20You%20Should%20Leave.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1440" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYXv7eKgjuBogad_mmnRxlTnmIgEHxe-fbQjHzOGBv23h0uEDB1yziJ7_EwJ1bf17_i9oPOKav50KswtkHbPJpjoM49d0fO8UVsTojmtBdZ_J1_cImAunEgGjMzXGqTDcPSksFqFfVb0Zwp-Pfj-q5mcgCrp3xG-CWqa3pnrxcNlqVGlrChUp-MhR3BfY/w400-h225/I%20Think%20You%20Should%20Leave.jpg" width="450" /></a></div><div style="text-align: left;">It might not have had the meme staying power its predecessors did, but season three of <i>I Think You Should Leave</i> was as funny as ever. It feels like the show operates in its own bizarre language, one that becomes scarily natural the more you watch it. And its sketches work with premises that start absurd and get even more absurd, as well as ones that blow up from grounded social interactions. At the center of most of the odd hilarity is Tim Robinson, whose elastic face and go-for-broke comedic sensibility only heightens the surreal writing. With episodes that fall into the 15-18 minute range, you could binge the whole season in one sitting, but it's best to space episodes out so you don't hurt yourself from laughing too hard.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>17. Class of '07 (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdjqAgZLk2nlldCCVl3SKgiP9DUhCbutbuJsmfe3k53ZoWp71xTGOV2beK2NZv8yYUb3Fw-dnwBggnEq4mO9tBwJxzvgrEc2UCXZ2OtwR3WdqqGxQrp5fi7wCHpUfkFLd4FQ8K7RS6kxFAI2Tr9ijfIlhphV6We5M1BXWhj8KgWQ0_Hlh-q1-mKq7mcXU/Class%20of%20'07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3840" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdjqAgZLk2nlldCCVl3SKgiP9DUhCbutbuJsmfe3k53ZoWp71xTGOV2beK2NZv8yYUb3Fw-dnwBggnEq4mO9tBwJxzvgrEc2UCXZ2OtwR3WdqqGxQrp5fi7wCHpUfkFLd4FQ8K7RS6kxFAI2Tr9ijfIlhphV6We5M1BXWhj8KgWQ0_Hlh-q1-mKq7mcXU/w400-h225/Class%20of%20'07.jpg" width="450" /></a></div></div><div style="text-align: left;">Not to be confused with the high concept drama <i>Class of '09</i> that also came out this year (didn't watch it), <i>Class of '07</i> is an Australian comedy that caught me by surprise when I checked it out on a whim. It comes with a high concept of its own: a group of women attending a 10-year reunion at their boarding school get stranded there when a cataclysmic event strikes, leaving them completely surrounded by water and unsure if anyone else is left in the world. The show finds many laughs amid the apocalypse, and its effervescent charm leaves you unprepared for the huge emotional core it contains. It boasts a terrific ensemble, a cast full of characters who seem like archetypes at first but quickly reveal fascinating wrinkles of personality. Even in difficult circumstances, <i>Class of '07</i> manages to be a great hang with a ton of heart.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>16. Daisy Jones & the Six (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK96AgbeS1Ns37OeMmwiyVc-NsnzoPMfzqvN3yDCRFNpkFixDf7-zbTcoVqtHJnLHG0AF8PsdCWfD9nmIVuAP3kaYCPicKdpcxhTei860rmCaF5S1jADROp7GuzyYfXyDTIKZ70ZzfQgdeUs7BESMHNaWrHhaw-eVlZNpp8jzywk1vLP4o3aY1yjUoS0vX/Daisy%20Jones%20and%20the%20Six.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1683" data-original-width="2992" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK96AgbeS1Ns37OeMmwiyVc-NsnzoPMfzqvN3yDCRFNpkFixDf7-zbTcoVqtHJnLHG0AF8PsdCWfD9nmIVuAP3kaYCPicKdpcxhTei860rmCaF5S1jADROp7GuzyYfXyDTIKZ70ZzfQgdeUs7BESMHNaWrHhaw-eVlZNpp8jzywk1vLP4o3aY1yjUoS0vX/w400-h225/Daisy%20Jones%20and%20the%20Six.jpg" width="450" /></a></div><div style="text-align: left;"><i>Daisy Jones & the Six</i> is the television version of stadium rock. Adapting the hit novel by Taylor Jenkins Reid, the show chronicles the rise and fall of a fictional band modelled on Fleetwood Mac, and it's always aiming for the rafters with its storytelling choices. It takes these big emotional swings and frequently hits home runs, perfectly capturing the electricity of the complicated creative partnership at the core of the story, and how powerful it can be to find somebody who gets you on an elemental level. On the fringes of that, it finds all kinds of nuances to characters and relationships that could just be window dressing in a less successful story. <i>Daisy Jones & the Six</i> plays the hits, but it does them damn well. It's immensely satisfying television.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>15. The Apothecary Diaries (Crunchyroll)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpK1-o8RVi8btH9Qn8T0G9Ej77b7Z1peB1KdbpwZYhI-RJBYTUBm-FO6B1Ffosl2zxeE5kEgsP1Lq9a7PPq6n8GrF6UZz6tj9VGuOwmKxcO-KCD4dmgNqNfdZGDr9rMmXjfidlxVJmHI2DvxXGYypNndK4N78-XODD470V64VuvJuHnFCB7Hml0QBfP-mr/The%20Apothecary%20Diaries.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpK1-o8RVi8btH9Qn8T0G9Ej77b7Z1peB1KdbpwZYhI-RJBYTUBm-FO6B1Ffosl2zxeE5kEgsP1Lq9a7PPq6n8GrF6UZz6tj9VGuOwmKxcO-KCD4dmgNqNfdZGDr9rMmXjfidlxVJmHI2DvxXGYypNndK4N78-XODD470V64VuvJuHnFCB7Hml0QBfP-mr/w400-h225/The%20Apothecary%20Diaries.jpg" width="450" /></a></div><div style="text-align: left;">If you've always wanted <i>House M.D.</i> in anime form, then <i>The Apothecary Diaries</i> is perfect for you. Set in the royal palace of a fictional country based on China, the series follows apothecary Maomao, as she solves medical mysteries and becomes reluctantly involved in court intrigue. Maomao is one of the most well-drawn protagonists of the year -- clever, curious, a little strange -- and it's fun to watch her balance her strong sense of justice and desire to do the right thing with a self-preservation needed to stay afloat in this dangerous environment. And as the episodic mysteries start to build up and interlock into grander stories, the world becomes surprisingly complex. With beautiful visuals and music on top of that, <i>The Apothecary Diaries</i> is the complete package.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>14. Heavenly Delusion (Hulu)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQtOhxs6q9FHKB88xJk0Vuq90JTb0APn5d0E9vB9EqvaziSyMAtXREp45gNKgHRpHQdrXkIB-W7geiWNtmJ8pRClgK-lb80KOXLMf9gxvs5zKuQxI-er51MAoSAS28N0sLOQ0qqZjZUruaW2_7SJhIfDCj_XmfMbit1RQboeooBR5S6PQ5ij5h49LGqhDx/Heavenly%20Delusion.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQtOhxs6q9FHKB88xJk0Vuq90JTb0APn5d0E9vB9EqvaziSyMAtXREp45gNKgHRpHQdrXkIB-W7geiWNtmJ8pRClgK-lb80KOXLMf9gxvs5zKuQxI-er51MAoSAS28N0sLOQ0qqZjZUruaW2_7SJhIfDCj_XmfMbit1RQboeooBR5S6PQ5ij5h49LGqhDx/w400-h225/Heavenly%20Delusion.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Heavenly Delusion</i> feels like an unearthed classic. It's one of those anime that makes you think "I wish they still made them like this," except it exists right now. It starts as a series shrouded in mystery, right down to the question of how its two main storylines -- one following a boy and a girl on a road-trip across a post-apocalyptic world populated by strange creatures, the other centering on a group of kids in a closed-off utopian location where things seem off -- relate to one another. Along the way to unearthing answers, the series excels in its moments of downtime, thrilling setpieces, and flashes of sci-fi horror. On top of that, it's one of the most beautiful series of the year, with a detailed and unique art style, and animation that often reaches a movie-level quality. That timeless essence and immaculate production values make it the perfect watch for anime diehards and newcomers alike.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>13. Silo (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV-DA0piNJR-hT720xlX0g7XvOWbxNR0r6L_8Rl_hBX0MNajN0Zo2_tpRmTd0zjXQabakKsZuimHZS1V5KVh7-df84Pa5i_rwUU7j7TZA4ZnOwqUmnkYSGwmSg3PBC4OvKk6yVJNtQ3BdwzJlwm0C0zs4lA_nKM1gJrwBbkpMIA1lSDdA-RJq_Z0G3rgU0/Silo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV-DA0piNJR-hT720xlX0g7XvOWbxNR0r6L_8Rl_hBX0MNajN0Zo2_tpRmTd0zjXQabakKsZuimHZS1V5KVh7-df84Pa5i_rwUU7j7TZA4ZnOwqUmnkYSGwmSg3PBC4OvKk6yVJNtQ3BdwzJlwm0C0zs4lA_nKM1gJrwBbkpMIA1lSDdA-RJq_Z0G3rgU0/w400-h266/Silo.jpg" width="450" /></a></div></div><div style="text-align: left;">If you're a fan of sci-fi television, you're missing out on the best of what the genre currently has to offer if you're not subscribed to Apple TV+. (Apple TV+ is the best streaming service in general when it comes to TV, but we'll talk about that another time). Joining the likes of <i>For All Mankind</i>, <i>Severance</i>, and <i>Foundation</i> this year was <i>Silo</i>, based on series of novels from Hugh Howey. You can see its novelistic origins pretty early on, as it quickly introduces its gripping concept and a world that's thoroughly conceived, where every corner is filled with detail and every character feels lived-in. That strong framework allows for the mystery of its narrative to get its hooks in you, guided along by showrunner and TV veteran Graham Yost's sturdy command of the hourlong television drama. <i>Silo</i> never falters or disappoints in providing answers to its enticing questions in its first season, and it leaves you with enough unanswered that season two can't come soon enough.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>12. The Other Two (Max)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho6cuGxYx4zTI8gh6jadVEkbmQMB0Atpav8pWHP1tZPMFOnpbEwSMJbnsW3-5sArjbYCelhwS3DqVcheuvDyPRcdO1fxddYF1cHp3u9sa16enNm1TTEWosR2-G_4oSQZrrJULx2cz6G2W6OgYlwT-vhlDH6mPrrdkoDCUjRjtuCVRKfou-aIWKllOwuSl8/The%20Other%20Two.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2370" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho6cuGxYx4zTI8gh6jadVEkbmQMB0Atpav8pWHP1tZPMFOnpbEwSMJbnsW3-5sArjbYCelhwS3DqVcheuvDyPRcdO1fxddYF1cHp3u9sa16enNm1TTEWosR2-G_4oSQZrrJULx2cz6G2W6OgYlwT-vhlDH6mPrrdkoDCUjRjtuCVRKfou-aIWKllOwuSl8/w400-h228/The%20Other%20Two.jpg" width="450" /></a></div></div><div style="text-align: left;">This summer, around the time it was announced that Max's <i>The Other Two</i> would be ending after three seasons, <a href="https://www.hollywoodreporter.com/tv/tv-news/the-other-two-canceled-at-max-1235525619/">a report came out</a> alleging verbal abuse and difficult working conditions established by showrunners Chris Kelly and Sarah Schneider. Suddenly it made a sick sort of sense that the show was able to depict its striver protagonists who were willing to be awful to anyone on their way to success with such pinpoint accuracy. Though the laughs now come with a sting of recognition, <i>The Other Two </i>continued to be one of the funniest and most biting showbiz satires out there. Its joke density, deep references meant for only the most pop culture-literate, and surprising melancholic streak were always a reminder of a bygone era where the scripted comedy was in a stronger place. Let's hope the next time one of its kind comes around, it's made by nice people.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>11. Star Trek: Strange New Worlds (Paramount+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRqOYyHW8xp3CXTjej2aK4nBcin8pyRftcmWaRHUyRaK32ozN0yZODSDTnva3FFL3_cRRussspmbRAU0vfopWziW22Kv06RrIGX_C5UIdOBJwjAtGtZMjoQgivmzRLx6nWv0UQ6tUD1FzJjN1H0vsxqUykGY8Juk-sGEnGjy8AaCKb0q6PH-_AIYZCDxMV/Star%20Trek%20Strange%20New%20Worlds.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1201" data-original-width="1800" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRqOYyHW8xp3CXTjej2aK4nBcin8pyRftcmWaRHUyRaK32ozN0yZODSDTnva3FFL3_cRRussspmbRAU0vfopWziW22Kv06RrIGX_C5UIdOBJwjAtGtZMjoQgivmzRLx6nWv0UQ6tUD1FzJjN1H0vsxqUykGY8Juk-sGEnGjy8AaCKb0q6PH-_AIYZCDxMV/w400-h268/Star%20Trek%20Strange%20New%20Worlds.jpg" width="450" /></a></div></div><div style="text-align: left;">Last year, <i>Star Trek: Strange New Worlds</i> surprised in the way it offered pleasures for those who are relative newcomers to <i>Star Trek</i>. Season two didn't falter either, delivering a set of episodes that were even more confident and exciting than the first season. With the ensemble fully established now, the writing staff just lets them rock, deepening them as individuals and the way they relate to each other, trying on new combinations of characters to great effect. And the show's episodes balance serialization and episodic storytelling perfectly, getting playful with its weekly premises while never losing track of the larger forward momentum of its arcs. That ability to make difficult writing look easy is what makes <i>Strange New Worlds</i> one of television's best programs.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>10. Justified: City Primeval (FX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5s2A87FYB0zwlDf8UE5jHBkHmLFO-WL3lgBPunsuqwbSnraYQiF2iG4bWjIfRVzoLkNqj6GkdU108sBgf8Yx3qQX7jiKAxp76JqL9feNqFYOpk1gT6QTRwQgHbrqA76Id0MouJDifcaz0dYoy4BKubog5E7_PIE0UvHBCK5v3QKfA5MbAXjBQX_NQggfl/Justified%20City%20Primeval.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5s2A87FYB0zwlDf8UE5jHBkHmLFO-WL3lgBPunsuqwbSnraYQiF2iG4bWjIfRVzoLkNqj6GkdU108sBgf8Yx3qQX7jiKAxp76JqL9feNqFYOpk1gT6QTRwQgHbrqA76Id0MouJDifcaz0dYoy4BKubog5E7_PIE0UvHBCK5v3QKfA5MbAXjBQX_NQggfl/w400-h225/Justified%20City%20Primeval.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Justified</i> was always the forgotten child of the Peak TV era: not as literary or ambitious as <i>Mad Men</i>, not as popular as <i>Breaking Bad</i>, not even as much of a "niche cool guy" pick as <i>The Americans</i>. But if it didn't have the flash of its peers, it sure did have the entertainment factor, and the wealth of Elmore Leonard source material made it so that a return to the world wasn't completely off the table. We finally did get that return eight years after the original series finale with <i>City Primeval</i>, which loosely adapts the Leonard novel of the same name. And though only Timothy Olyphant's Raylan Givens returns from the original series, the <i>Justified</i> spirit courses through it nonetheless. That lived-in grit to the world, the colorful characters who have fully fleshed-out life stories and worldviews, an onslaught of crackling dialogue; they all infuse this miniseries with a spark that carries on until its satisfying conclusion. <i>City Primeval</i> might not stand up with the best of <i>Justified</i>'s original seasons, but it gets way more close than you'd think it has any right to.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>9. Party Down (Starz)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmsY697TIkDZ0q9ikxlrRRhnB0CYQcb1tb2GDmWQwd1x-RTqDVww89pPv3eM3OOiADE6ni8Y6sEfb-v3eIqX75vYkP2VChHJFpTvhGAjsq_RrDqUhRWodSr5DNWA1DQ9paUL48XQnANXGNgToHRrgY8nIyS_DtOdd_Y_ARpSdnnaXpCMDbKmKvjyFJubY5/Party%20Down.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="931" data-original-width="1400" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmsY697TIkDZ0q9ikxlrRRhnB0CYQcb1tb2GDmWQwd1x-RTqDVww89pPv3eM3OOiADE6ni8Y6sEfb-v3eIqX75vYkP2VChHJFpTvhGAjsq_RrDqUhRWodSr5DNWA1DQ9paUL48XQnANXGNgToHRrgY8nIyS_DtOdd_Y_ARpSdnnaXpCMDbKmKvjyFJubY5/w400-h266/Party%20Down.jpg" width="450" /></a></div></div><div style="text-align: left;">The rule used to be that unless you were <i>Twin Peaks: The Return</i>, it was best not to try to do a revival of a show that's been gone for a long time. Then 2023 came and gave us not one, but two great comebacks of beloved series from TV's previous generation. The above show on this list was the first, and the second is <i>Party Down</i>, the previously canceled cult classic comedy about the ups and mostly downs of a group of people who work for a catering company in Los Angeles as a day job while trying to make it in Hollywood. Its two-season run from 2009-2010 was assumed to be all we'd ever get of the show, but against all odds it came back this year, and even more surprising was how accurate to the spirit of the original run season three was. Narratively, the return stays true to what would become of these characters' lives in the decade since we last saw them. And structurally, the episodes were as airtight as ever, using the show's ingenious format to produce some of the funniest moments of the year. Sometimes it's not always good to get what you want, but season three of <i>Party Down</i> is a hilarious exception.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>8. The Eric Andre Show (Adult Swim)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehCgpsSZdq8xOZh6UMG4LMbXdpFQNpyz7UGeiuzR41o4tewt3cc8dB2g8G7zY7j7nZNHlQGfQqnyvart-r_QaAI930dXxiLxZYITWNqBfMmFXufoFr3XAt9dZpqxh9a6x15EeOhSJBw4UFHbXJQNih1rk70LKglGZCgTto2VjXiEzKrYDgCEVrebg9gkD/The%20Eric%20Andre%20Show.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="3200" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehCgpsSZdq8xOZh6UMG4LMbXdpFQNpyz7UGeiuzR41o4tewt3cc8dB2g8G7zY7j7nZNHlQGfQqnyvart-r_QaAI930dXxiLxZYITWNqBfMmFXufoFr3XAt9dZpqxh9a6x15EeOhSJBw4UFHbXJQNih1rk70LKglGZCgTto2VjXiEzKrYDgCEVrebg9gkD/w400-h225/The%20Eric%20Andre%20Show.jpg" width="450" /></a></div></div><div style="text-align: left;">Every time I have to write about <i>The Eric Andre Show</i> for one of these year-end lists, it gets harder and harder. Comedies are difficult to write about in general, but when they're as short and non-narrative as this one it's even more daunting. It's a relief, then, that the show has at least started taking longer breaks between seasons lately. Coming three years after its previous installment, season six delivered the series' signature laughs and anarchic spirit. Some may feel like it has lost a step in its gradual transition away from the lo-fi aesthetic and complete spontaneity of its early years, but while it may not have that punk rock aura anymore, its blitzkrieg of bits still entertain this humble blogger.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>7. Frieren: Beyond Journey's End (Crunchyroll)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggmUhLEhZP30E5Eu9xbeyAMawOmXbDvDb9MrPNQbkX9ZkKixogKO0jxaZ7LjJT4Sbo3MbXum5l2GKzvEKUGMpkEmNK7DStRInvOCzi5FFtq6GFUgtgJnrohP5hIGgVUqOshC-RjpS_Yhxx4qR9hhU0jJ35w6J1olOziii4xV6FC4QqsSxnYHlsVIx2_nVf/Frieren.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="707" data-original-width="1267" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggmUhLEhZP30E5Eu9xbeyAMawOmXbDvDb9MrPNQbkX9ZkKixogKO0jxaZ7LjJT4Sbo3MbXum5l2GKzvEKUGMpkEmNK7DStRInvOCzi5FFtq6GFUgtgJnrohP5hIGgVUqOshC-RjpS_Yhxx4qR9hhU0jJ35w6J1olOziii4xV6FC4QqsSxnYHlsVIx2_nVf/w400-h224/Frieren.jpg" width="450" /></a></div></div><div style="text-align: left;">Time moves differently for Frieren, an elven mage whose lifespan is much longer than the humans around her. 10 years is a significant chunk of our lives, but just a drop of water in a deep lake to her. That concept forms the emotional backbone of <i>Beyond Journey's End</i>, which is about the dull ache of not realizing things were meaningful to you until they're already gone. Taking place after the kind of big, action-packed journey that usually make up fantasy series has already happened, this anime is much more melancholic and introspective. There are flashes of action, but the bulk of the series' time is devoted to character building and wistful rumination. No matter what it throws at the viewer though, it's always exquisitely animated by Studio Madhouse, featuring some of the most breathtaking visuals of the year. The care shines through in every second of <i>Frieren</i>, and every week of watching it is like getting lost in another world for 25 minutes.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">
<div style="text-align: center;"><b>6. Slow Horses (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcakKEjNsxH-nEVQH0x9kyNdLV_n1lfHV4aEH24gFu9vHQrBW7mjFk3okvZflPizQoPgaytP4ydcwJbMrlER-Hwn6snt4AFqJ-cFqiAHC09K6KB-CtDEvfIzZaULNGH8COkFBkp8BCc5iDPeIf3Z0zyLp3EjjucT-QCJpaTRmVS-V7Xcc7hQI_PwK1lCo/Slow%20Horses.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1552" data-original-width="2755" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcakKEjNsxH-nEVQH0x9kyNdLV_n1lfHV4aEH24gFu9vHQrBW7mjFk3okvZflPizQoPgaytP4ydcwJbMrlER-Hwn6snt4AFqJ-cFqiAHC09K6KB-CtDEvfIzZaULNGH8COkFBkp8BCc5iDPeIf3Z0zyLp3EjjucT-QCJpaTRmVS-V7Xcc7hQI_PwK1lCo/w400-h225/Slow%20Horses.jpg" width="450" /></a></div><span style="text-align: left;"><div style="text-align: left;">Early into the third season of <i>Slow Horses</i>, a member of Slough House, the vestigial group in MI5 where disgraced agents go to languish, gets kidnapped. When they're taken to a safe house, you can see their eyes darting around, taking in all the data they can about the location they're at in case they need to relay this information later. The show never explicitly communicates this to the viewer, but it trusts us to know that this is what's going on. It's that kind of writing that makes <i>Slow Horses</i> such a great watch -- the espionage is just as fast and smart as you'd want a series in this milieu to be. Showrunner Will Smith's comedy background shines in dialogue that's hilarious and sharp. In fact, the barbs are so entertaining that you're always caught off guard when the show arrives at the point in the season where the stakes get incredibly high. Season three was the most intense one yet, where the bodies pile up and the noose around the ensemble continually gets tighter. And it ends in a really satisfying place, somehow topping the high bar set by the first two seasons.</div><div style="text-align: left;"><br /></div></span></div><div><br /></div></div>
<div style="text-align: center;"><b>5. Skip and Loafer (Crunchyroll)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEW_K5q9tyKF_xpjdFrgu2zrRIgu2SX6j2JV1qao_ZzZEtVY8zG8MclbOjVj2cb1gycDrGykwQWKOZY_wTN_VmzmaYSJozhumgY0fcWujzxN8M643wodiNNodHANtxytenUKLapVOHgg8dXx2IcvsksAkWwOma3GCBCXNSAp81YRENZyg4xyiWkdT3jTp/Skip%20and%20Loafer.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3840" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEW_K5q9tyKF_xpjdFrgu2zrRIgu2SX6j2JV1qao_ZzZEtVY8zG8MclbOjVj2cb1gycDrGykwQWKOZY_wTN_VmzmaYSJozhumgY0fcWujzxN8M643wodiNNodHANtxytenUKLapVOHgg8dXx2IcvsksAkWwOma3GCBCXNSAp81YRENZyg4xyiWkdT3jTp/w400-h225/Skip%20and%20Loafer.jpeg" width="450" /></a></div></div><div style="text-align: left;">Over the past couple of years, as I've become a more dedicated anime fan, I've widened the scope of genres and styles of series I watch. If this was 2019, I probably would have passed on a pastel-colored, romance-adjacent anime like <i>Skip and Loafer</i>, no matter how many raves it got. What a shame that would've been, because I'd be missing out on an excellent experience. <i>Skip and Loafer </i>boasts some of the year's best character writing, granting no shortage of complexity to all of its cast, always having empathy and understanding of who they are. So many shows of this kind rely on misunderstandings to fuel storytelling, but everyone in the ensemble is so perceptive and introspective, and it turns out that much richer drama can come from that. Its distinctly homespun art style full of soft, vivid hues just adds to the comforting, easygoing aura it exudes. Animation studio P.A. Works rarely does second seasons of its shows, but it would a minor tragedy if this is the last we see of <i>Skip and Loafer</i>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>4. Poker Face (Peacock)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQE29w6GibAtiRbot0ztmQWWkhMCPxD4vU6u3yfcY7ji5KGHNqb7ozfqFs4nfs9zFLISJgl_VzLeBMu7jB38d6isddpF8FLyldwF6eVsp_sg19y5uzzn8qpj7Fx2VsuNzu7NbpS8RPK3BQm5u8Pq8SsMbgxAr1vQAbmgIqVqoSwmTP4f87vDg_Mp8scYtQ/Poker%20Face.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1054" data-original-width="1581" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQE29w6GibAtiRbot0ztmQWWkhMCPxD4vU6u3yfcY7ji5KGHNqb7ozfqFs4nfs9zFLISJgl_VzLeBMu7jB38d6isddpF8FLyldwF6eVsp_sg19y5uzzn8qpj7Fx2VsuNzu7NbpS8RPK3BQm5u8Pq8SsMbgxAr1vQAbmgIqVqoSwmTP4f87vDg_Mp8scYtQ/w400-h266/Poker%20Face.jpg" width="450" /></a></div></div><div style="text-align: left;">It may sound crazy to the younger set, but we used to live in a world where procedural, episodic storytelling ruled television. Though case-of-the-week stories could be repetitive at their worst, they also taught writers how to really hone their craft and cater to the confines of the medium. Face it, there's a reason why people are watching and tweeting about <i>Columbo</i> all the time these days. And just in time, <i>Poker Face</i> arrived to keep that spirit alive and well. The series, whose protagonist has a gift for being able to tell when people are lying that gets her reluctantly embroiled in new mysteries while on the run from very bad men, comes from Rian Johnson (<i>Brick</i>, <i>Looper</i>, the universally beloved and not at all controversial <i>Star Wars: The Last Jedi</i>) who brings his brand of quality to start things off. But even episodes without him penning the scripts or standing behind the camera have a visual flair and narrative spark. Each installment does a deep dive into the world of its setting and players, packing every crevice with so much personality. The best of classic TV is back with <i>Poker Face</i>. Now if only we could get 24 episodes of this a year, we'd really be cooking.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>3. The Marvelous Mrs. Maisel (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoF49BruNEMd8Lif8ZC5xg1g-sXsdgYaxf3p3vWOBk6uu6QF2ViMqiqwO0Qg5ebHurjNrfExmXTzUTDixRm2kOCo9wD99R3Y588WdzIh9P1HLRfLyvRjKNQgdh-1nMfTmWgQx45V1LvoE1_SgXWCSis2tF118VRaJyl2sQreE5MYCI-rQJ-Y8zhHz-B9Ls/The%20Marvelous%20Mrs.%20Maisel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoF49BruNEMd8Lif8ZC5xg1g-sXsdgYaxf3p3vWOBk6uu6QF2ViMqiqwO0Qg5ebHurjNrfExmXTzUTDixRm2kOCo9wD99R3Y588WdzIh9P1HLRfLyvRjKNQgdh-1nMfTmWgQx45V1LvoE1_SgXWCSis2tF118VRaJyl2sQreE5MYCI-rQJ-Y8zhHz-B9Ls/w400-h266/The%20Marvelous%20Mrs.%20Maisel.jpg" width="450" /></a></div></div><div style="text-align: left;">Sometimes there's a creator you get on a fundamental level, whose work feels like it's tapped right in to your personal frequency. <i>Gilmore Girls</i> and <i>Bunheads</i> are two of my favorite shows of all time, so it's safe to say Amy Sherman-Palladino is that for me. Her ambling plotting that some criticize as scatterbrained, I see as cresting and falling away in a rhythm that always knocks me flat. The creative choices of hers that get labelled as misguided, I always find that they make some sort of emotional sense to me. (Yes, even the Rory Gilmore Sex Boat.) The laughs in her work are plentiful and delightful, but the moments of pathos always feel real and hard-won. For five seasons, <i>The Marvelous Mrs. Maisel</i> was all of that, but also happened to be the only show ever that was simultaneously inspired by the screwball comedies of the 30s and 40s, the MGM musicals of the 50s, and the variety TV shows of the 60s. And in its final season, it tried an ambitious gambit of dancing backwards and forwards through the years in a move that some found not quite successful, but formed this overwhelming latticework of refractions and insights that I found almost unbearably moving. It seemed like everybody either forgot about or gave up on <i>Maisel</i> in its last few years, but I never did. Just like Amy Sherman-Palladino's other series, this one is firmly in the pantheon of all-time greats.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: center;"><b>2. The Curse (Showtime)</b></div><div style="text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2lwAzd4a9tH6cKtosoKBLZyobN_MmJ0bOeRrkF4eQV6WryjNFB5UjV-3_VPcLuRsrBw7FXr1d50zqXSRI0nT2oZoy-8GXL4Cguz70JX9KhwfCzSHNGZFhUYyvcdy5FkQJKyv0qjJa_uJ3UTk1PTkP3LoCRdKqodHGUkU5kL-tNFXG00S0khq3kMLbhoH/The%20Curse%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2lwAzd4a9tH6cKtosoKBLZyobN_MmJ0bOeRrkF4eQV6WryjNFB5UjV-3_VPcLuRsrBw7FXr1d50zqXSRI0nT2oZoy-8GXL4Cguz70JX9KhwfCzSHNGZFhUYyvcdy5FkQJKyv0qjJa_uJ3UTk1PTkP3LoCRdKqodHGUkU5kL-tNFXG00S0khq3kMLbhoH/w400-h266/The%20Curse%203.jpg" width="450" /></a></div></div><div>Showtime is known for their safe and conservative programming, but every now and then they let a weird one slip through. It happened in 2017 with <i>Twin Peaks: The Return</i> and now, in the last few weeks before it got swallowed up into Paramount+, they did it again with <i>The Curse</i>. As a meeting of minds between Nathan Fielder and Benny Safdie, it just might be the densest work in either of their careers. At the outset, the premise of following this do-gooder liberal couple (Emma Stone and Nathan Fielder) filming an HGTV pilot about them providing sustainable housing for an underprivileged community seems like a soft target for satire, but as the show establishes roots it unveils a truly fascinating examination of white guilt. And even though it pokes and prods and makes fun of its two main characters, there's also a genuine love between them in their foundation. Likewise, Safdie's Dougie is drawn and styled like a buffoon, but thanks to some very nuanced writing and a jaw-dropping performance from Safdie, he's the most moving character of the year. Everywhere you look, there's this strange humanity poking out of <i>The Curse</i>. And the show's voyeuristic camera and penchant for sitting in discomfort means you also get to live with these people and their emotions for extra seconds at a time. There are still two episodes left in the season at the time of this list dropping, but it's pretty safe to say we've got a towering achievement on our hands.</div><div><br /></div></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>1. Succession (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwjIxDjrH23mLbNRvrzfyJLvTeRCJNdu7gr4KiIUS1MeAEqvNNjpayISCKqx-rlwg4_8y6SijFzJm8u1ofBPh2ykxfUNQu1PG5OSTV-TyQzrKz3g8Wm1eoHsHltmU2szXhtpW83PGerFA31K88wOG-tzst-PzBClsIO7NzXrwKil351yDoOYBJuj10Fpa9/Succession.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwjIxDjrH23mLbNRvrzfyJLvTeRCJNdu7gr4KiIUS1MeAEqvNNjpayISCKqx-rlwg4_8y6SijFzJm8u1ofBPh2ykxfUNQu1PG5OSTV-TyQzrKz3g8Wm1eoHsHltmU2szXhtpW83PGerFA31K88wOG-tzst-PzBClsIO7NzXrwKil351yDoOYBJuj10Fpa9/w400-h266/Succession.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Succession </i>might've been my number one show in the last two years that it was on the air, but endings are always a tricky undertaking, so it wasn't a total foregone conclusion that it would claim that top spot for its final season. Thankfully, this series didn't shrink from its high expectations, landing the plane with perhaps its best season yet, the perfect culmination of all the intricately laid groundwork before it. When you've constructed such a rich ensemble with a dense network of competing self-interests and complex motivations, the drama writes itself, and there were many times where season four seemed to be operating in a free-flowing state of ultra instinct, dropping hours of television so dazzling and perfectly sculpted that they flew by in the blink of an eye. Over the course of its four season run, <i>Succession</i> was a chameleon: a riveting drama, a gut-busting comedy, an acerbic media satire, a portrait of America in decline through the lens of one family and its many hangers-on. But most all, it was far and away the best thing on the air for the time it was on. Goodbye to TV's number one boy.</div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Well, that wraps things up for my best shows of 2023 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! To see a complete inventory of all the TV I watched this year (with even more rankings), you can find it on <a href="https://docs.google.com/document/d/1sj7qxpx0nu6xnsJvvbWpHztscGfKFrEGjDi9cZqa-ww/edit?usp=sharing">this Google Doc</a>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2022/12/my-20-favorite-television-shows-of-2022.html">2022</a></div><div><a href="https://yeahthatantonio.blogspot.com/2021/12/my-20-favorite-television-shows-of-2021.html">2021</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-television-shows-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-television-shows-of-2019.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-television-shows-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-television-shows-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-television-shows-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-television-shows-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-television-shows-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-television-shows-of-2013.html">2013</a></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com5tag:blogger.com,1999:blog-2395748504986705619.post-50855290145314744092023-12-30T00:01:00.740-05:002023-12-31T16:37:06.978-05:00My 20 Favorite Films of 2023<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdLryE-zgKiN6QRAG5hKeJXXkYNuKBPADSAff00hysLPPfdlxAIhEK1S_KIsssVjef9Yes1LomtF4FrilvbqFwfOel0RBH9SUB4jniZXbJSj7ILwFfegfsMgOlcC-1dOeLdQR2EtQ5cOBVQ4Siq4-2THSZqVRapRWcT6tu-Cy_WFftleLfTHr8FqxmmeQS/s612/Best%20of%20film%20picture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="612" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdLryE-zgKiN6QRAG5hKeJXXkYNuKBPADSAff00hysLPPfdlxAIhEK1S_KIsssVjef9Yes1LomtF4FrilvbqFwfOel0RBH9SUB4jniZXbJSj7ILwFfegfsMgOlcC-1dOeLdQR2EtQ5cOBVQ4Siq4-2THSZqVRapRWcT6tu-Cy_WFftleLfTHr8FqxmmeQS/w400-h270/Best%20of%20film%20picture.jpg" width="500" /></a></div><br />It took some people a while to come around to something I've felt since the middle of the year: 2023 was a fantastic year for film, certainly the best since 2019. Maybe I've just become more lenient of a watcher, but it seemed like I was giving five-star ratings out to films left and right this year. (The actual numbers: six versus last year's four.) Speaking of numbers being up, I also watched more new releases than I did last year, having seen 76 this year compared to my 65 in 2022. Can I one day get to 100? Stay tuned for 2024.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Let's take a look at some of my favorites from this bountiful year.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>The rules:</b> Any film that got their first non-festival release in 2023 -- whether that's theatrically, on VOD, or exclusively on a streaming service -- qualifies for this list.</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Honorable Mentions (25-21)</b></div><div style="text-align: left;">Overly abstract plotting aside, <i style="font-weight: bold;">Mission: Impossible -- Dead Reckoning Part One</i> is another rollicking setpiece generator from our most reliable action series. A movie like <i style="font-weight: bold;">Air</i><span> is bound to become a cable classic</span>, thanks to a sharp script and brisk pacing that encourages rewatching. <i style="font-weight: bold;">R.M.N.</i>, the latest from Romanian arthouse favorite Cristian Mungiu, is a timely and riveting look at a small-town community plagued by a hateful fear of outsiders. You won't find a studio comedy from this year more zany and fun than <i style="font-weight: bold;">Bottoms</i>. Kitty Green remixes some of the themes from her excellent <i>The Assistant</i> in <i style="font-weight: bold;">The Royal Hotel</i>, another patient film about women contending with uncomfortable power dynamics.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><br /></b></div>
<div style="text-align: center;"><b>20. Afire (Directed by Christian Petzold)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl-xqavmU64vHmGorM4igpxcLccnh8QA6NqWDC5RckCdALP3p8qpQc9_RCPoouikcQX-8IbotUYHWOCyTAf5fCw6M-FDthInab_LASeEphPgXEJkkp-VGUfa09XEhzI-3NAj4uEcLKlhFr-vQhzq_w6fzr8CX2q4jg5az_-O1rFLVdS-nNtrm1n3fcWmV4/Afire.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl-xqavmU64vHmGorM4igpxcLccnh8QA6NqWDC5RckCdALP3p8qpQc9_RCPoouikcQX-8IbotUYHWOCyTAf5fCw6M-FDthInab_LASeEphPgXEJkkp-VGUfa09XEhzI-3NAj4uEcLKlhFr-vQhzq_w6fzr8CX2q4jg5az_-O1rFLVdS-nNtrm1n3fcWmV4/w400-h266/Afire.jpg" width="450" /></a></div></div><div style="text-align: left;">Though not about anything aquatic like his previous film <i>Undine</i>, the word that keeps coming to mind regarding Christian Petzold's latest is "slippery." Tapping into the languid, character-focused style of Rohmer, <i>Afire</i> unfolds at an unhurried pace as it follows discontent writer Leon (Thomas Schubert) trying to finish his latest manuscript while on a holiday retreat with his friend and an unexpected guest (played by recent Petzold favorite, Paula Beer). Petzold is laser-focused in his characterization of Leon, who's not only constantly agitated and unpleasant, but seems to become more annoyed in the presence of everyone else able to let themselves enjoy life. That specificity is excellently contrasted with Beer's Nadja, a character whose beguiling mystique makes it so that you always feel like there are two things hidden for every one thing you learn about her. Unfolding with Petzold's signature elliptical storytelling style, <i>Afire </i>is light on major incident, but fascinating nonetheless.</div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><br /></div><div style="text-align: center;"><b>19. Poor Things (Directed by Yorgos Lanthimos)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCLeNHNw4xNWGlP4R_2RIzL0AmXBBUm4EqpJbdE9zV4PD2t-r0g1PKUNMA75G0YctcySNBnmh2J5FfLRmtNV9mbyGVxvoM1fC_lVZUkQhfZZgrvukev4BXhyphenhyphenajc6apE85feYnskgN76vZWhGIAdr8_2euJP-NYlJCxqkgCMSZ7KZcmLy_9SrARzM1X0if3/Poor%20Things.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="888" data-original-width="1500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCLeNHNw4xNWGlP4R_2RIzL0AmXBBUm4EqpJbdE9zV4PD2t-r0g1PKUNMA75G0YctcySNBnmh2J5FfLRmtNV9mbyGVxvoM1fC_lVZUkQhfZZgrvukev4BXhyphenhyphenajc6apE85feYnskgN76vZWhGIAdr8_2euJP-NYlJCxqkgCMSZ7KZcmLy_9SrARzM1X0if3/w400-h236/Poor%20Things.jpg" width="450" /></a></div></div><div style="text-align: left;">From the beginning, the films of Yorgos Lanthimos have mined dry humor from their grotesque peculiarity, but not until he started working from a Tony McNamara script on <i>The Favourite</i> did his work have an electric comedic energy coursing through it. In their second collaboration together they've concocted another strange brew, centered around Bella Baxter (Emma Stone), a woman who goes on a journey of growing sentience after she's resurrected with a baby's brain by a mad scientist. Like <i>Frankenstein</i> as a bawdy comedy, or a Tim Burton film with way more cunnilingus, <i>Poor Things </i>is everything but boring. Nothing it does is conventional, from its fantastical gothic production design to its alien lens work. And Emma Stone holds it all together in her role, a performance so fearless and committed to Lanthimos' odd vision that she's able to wring every ounce of comedy and pathos out of the writing with ease. In keeping with the whole film's mission statement, it's the last move you'd expect a movie star of her caliber to make.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>18. Return to Seoul (Directed by Davy Chou)</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpfjM013xFWVQU4Ulbm2Wai6icA8-j4MPJn2Pmk3PY1yFDWQfV9Ol4C-xdGntWR6BlMwpolh6nUIRZASQO_ivLo73xCoCK_CbPvJre_gEg_uCbFOLckhrU5uHko54XThkcB9y9KPXHCscjscwfDNql7ySp6Mki8MFMSU8PhL5lL1VBqR1xJUbrBAQLrFHp/Return%20to%20Seoul.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="900" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpfjM013xFWVQU4Ulbm2Wai6icA8-j4MPJn2Pmk3PY1yFDWQfV9Ol4C-xdGntWR6BlMwpolh6nUIRZASQO_ivLo73xCoCK_CbPvJre_gEg_uCbFOLckhrU5uHko54XThkcB9y9KPXHCscjscwfDNql7ySp6Mki8MFMSU8PhL5lL1VBqR1xJUbrBAQLrFHp/w400-h216/Return%20to%20Seoul.jpg" width="450" /></a></div>Feelings of displacement and diaspora abound in <i>Return to Seoul</i>, a film about an adopted woman raised in France who decides to travel to South Korea on a whim to try to find her birth parents. It's a story both intimate and epic, eschewing conventional drama plotting to tell a wandering tale that spans chunks of time and digs into its main character, Freddie. She's a fascinating protagonist, often so caustic in the way she approaches people and situations, but the film never tries to make easy explanations for why she is the way that she is. Answers to those questions, along with ones about identity and fate, are implied rather than said, and in the eliding of big moments of catharsis, <i>Return to Seoul</i> arrives at even richer emotions.<div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>17. The Holdovers (Directed by Alexander Payne)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGTWkAFVImfZwr6koaWlUN8G7EvAkR7IkzkiGH7rHgN2dhqarKLAnFdWdzXWi3NByYPdKabiE1pqpAfgyZmqKQhkXZ7cgMB_R8ojT0Xf8lCyaAyLih-PfSphCleya3SONLF-TY1zFXY_6LmEeErm7cZBYNFzuPa50QnoP-Tpuik64E4x_jQcY3bXZEQgm-/The%20Holdovers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1442" data-original-width="2400" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGTWkAFVImfZwr6koaWlUN8G7EvAkR7IkzkiGH7rHgN2dhqarKLAnFdWdzXWi3NByYPdKabiE1pqpAfgyZmqKQhkXZ7cgMB_R8ojT0Xf8lCyaAyLih-PfSphCleya3SONLF-TY1zFXY_6LmEeErm7cZBYNFzuPa50QnoP-Tpuik64E4x_jQcY3bXZEQgm-/w400-h240/The%20Holdovers.jpg" width="450" /></a></div></div><div style="text-align: left;">You can almost hear the phantom lamentations of "They don't make 'em like this anymore" as soon as the credits roll on <i>The Holdovers</i>, a film that, right from the old school version of the Focus Features logo that appears in the beginning, announces itself as a throwback to 70s dramas. And it replicates that vibe well, patiently spending time with its characters who are forced to stay at a barren New England boarding school while everyone else is on Christmas break. It's a simple story with complex emotions, and it doles out information about its main trio in a fashion that endears you to them just as they start to let their guards down around each other. Holiday classics tend to be the ones that embrace the optimism of the season, but <i>The Holdovers</i> is the perfect pick for those who want a little more melancholy in their Christmas cinema.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>16. Barbie (Directed by Greta Gerwig)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqTR90CmZ_HPyhGZxm7rp-iHVKfO3Eu6gh_7u5nz39gu2LCWMMbAP7sgjz9Oue9jZnGYDi0awmD-PTtO38F2PmaLMKcdJOq2v_akJroC_PScMEd9mv9yPJ0NhXGCoZiW35YAvsXLhS5q1lOHcEpfiMxVIK30qlUOJzwjnLc8VlaD8ND2FDlyQO4WEpKVh5/Barbie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqTR90CmZ_HPyhGZxm7rp-iHVKfO3Eu6gh_7u5nz39gu2LCWMMbAP7sgjz9Oue9jZnGYDi0awmD-PTtO38F2PmaLMKcdJOq2v_akJroC_PScMEd9mv9yPJ0NhXGCoZiW35YAvsXLhS5q1lOHcEpfiMxVIK30qlUOJzwjnLc8VlaD8ND2FDlyQO4WEpKVh5/w400-h225/Barbie.jpg" width="450" /></a></div></div><div style="text-align: left;">For those of us who rightfully regard <i>Lady Bird </i>and <i>Little Women (2019)</i> as five-star bangers, and Greta Gerwig as one of this generation's most promising filmmakers, the prospect of her doing an IP film like <i>Barbie</i> was frightening. Little did anybody know that it would save cinema. Not only that, it's as much of a personal auteurist vision as something made under such commercial circumstances can be. Idiosyncratic in both its design and comedic sensibility, <i>Barbie </i>is a perverse blend of high culture (its Tati-esque world) and low culture (daffy references to Matchbox 20 songs) that's a delight to behold. And in the midst of all the fun is an earnest examination of personhood and living up to the societal expectations that come with being women and men. After having to put up with an increasingly vanilla slate of superhero films dominating the culture, it's downright moving to know that films can be this creative and still make a billion dollars.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>15. Anatomy of a Fall (Directed by Justine Triet)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuT9XpEr7vaQBAPy0Z6ONfWE7mPoNd9Vawoq33jCW-bOQMsdDmLmvy-8U5xtfh8kkxLNFVMDxgSpdXmj8Qq0X-F_PALs7Aewf3eb7JpfYJat0I0PcioTdfcrnyDPOIO-CPUUauNKE0T8c-LaLJX6Oq1uMRvCdm_wq2HB3MuTwvZqAr1T7t8sHcm-_O-at_/Anatomy%20of%20a%20Fall.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3996" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuT9XpEr7vaQBAPy0Z6ONfWE7mPoNd9Vawoq33jCW-bOQMsdDmLmvy-8U5xtfh8kkxLNFVMDxgSpdXmj8Qq0X-F_PALs7Aewf3eb7JpfYJat0I0PcioTdfcrnyDPOIO-CPUUauNKE0T8c-LaLJX6Oq1uMRvCdm_wq2HB3MuTwvZqAr1T7t8sHcm-_O-at_/w400-h216/Anatomy%20of%20a%20Fall.jpeg" width="450" /></a></div></div><div style="text-align: left;"><i>Anatomy of a Fall</i> is the rare kind of movie that only gets richer every time you think and talk about it. That goes beyond the central question of whether the main character (Sandra Hüller) is responsible for her husband's mysterious death as well. It's a film that's concerned with whether or not any outsider can ever truly understand the closed system that is a marriage, the court system's usefulness in excavating the truth in moments of ambiguity, and how humanity's complications look different depending on what they're reflected off of. That <i>Anatomy </i>is able to tackle those cerebral ideas while also being an exhilarating courtroom drama is an astonishing achievement.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>14. May December (Directed by Todd Haynes)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Plcgrhr8vXdeKsyfJrc8DO6OutANo3Xl2HsEp2_p80LuP45DvyzbheReK6IhNtR9izwllgu5R9RpnUDtQ_oI-KmVlelmzRbqWfUCxJTXxEwuImQvuJbhGq7j01dtzpLEAH44YJyc1F8Xe77g9_v6zHG8GvYtVDOnJ218Mn3sRCKVnOWLc6d4fjqYAPst/May%20December.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Plcgrhr8vXdeKsyfJrc8DO6OutANo3Xl2HsEp2_p80LuP45DvyzbheReK6IhNtR9izwllgu5R9RpnUDtQ_oI-KmVlelmzRbqWfUCxJTXxEwuImQvuJbhGq7j01dtzpLEAH44YJyc1F8Xe77g9_v6zHG8GvYtVDOnJ218Mn3sRCKVnOWLc6d4fjqYAPst/w400-h225/May%20December.jpg" width="450" /></a></div></div><div style="text-align: left;"><div>If you were alive during the time, you most likely remember the Mary Kay Letourneau scandal, in which the 34 year old teacher engaged in a sexual relationship with her sixth grade student and eventually married him once he became of legal age. <i>May December</i> dredges up our cultural memories with its psychologically rich story inspired by that affair, where Julianne Moore and Charles Melton play Letourneau/Villi Fualaau analogues, and Natalie Portman comes into their orbit as an actress researching for a film based on their lives. Endlessly layered and constantly turning in on itself, <i>May December</i> is as much an interrogation of method acting and the ethics of retelling real stories as it is about this queasy affair. In the end, no amount of research and imitation in the world will ever get at the heart of who any of us are. Haynes presents it all with his typical formal distance and debt to classic melodrama, which only adds to the discomfiting nature of the story. It's definitely not a film you can shake any time soon after you watch it.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>13. Palm Trees and Power Lines (Directed by Jamie Dack)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7PQanxnkqSS7Dbs9LS1vN_KTClbUem7SapNc4lXG_n_JJdjDkQJ4B7UqBYNJQ7v0XEK0R6buH_uAmrrlXBdD2pW9ILNa0487iIlWmDJzVbYV-6oNFd_NTFHXtBHXb868iwLyjlj87-NURnoQQIAJY1DUWs0v7Pdzx0OFrfiDigOsTkmgIi-9bzZyopDzx/Palm%20Trees%20and%20Power%20Lines.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2025" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7PQanxnkqSS7Dbs9LS1vN_KTClbUem7SapNc4lXG_n_JJdjDkQJ4B7UqBYNJQ7v0XEK0R6buH_uAmrrlXBdD2pW9ILNa0487iIlWmDJzVbYV-6oNFd_NTFHXtBHXb868iwLyjlj87-NURnoQQIAJY1DUWs0v7Pdzx0OFrfiDigOsTkmgIi-9bzZyopDzx/w400-h266/Palm%20Trees%20and%20Power%20Lines.jpg" width="450" /></a></div></div><div>Warning: <i>Palm Trees and Power Lines</i> is not for the faint of heart. As a story about a teenage girl (Lily McInerny) who gets groomed by an older man (Jonathan Tucker), it's almost too effective, granting you a fly-on-the-wall perspective to the process, in all of its unease and discomfort. Yet it never makes the easy stumble into exploitation, always taking the protagonist's point of view to show how easily something insidious can take hold. It's unflinching, but always done with grace and care. Ultimately, <i>Palm Trees and Power Lines</i> makes a strong case for the instructive, illuminating value of provocative art.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>12. The Killer (Directed by David Fincher)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii3xkx-KJ8BN0DCcxkThj8zSe2cwWClQPKcRQXBliFP4wt0A4fn6jDTWY3fYoUeLxN7qiFgNijSoNEI02g-P5rh_3GYho1akFYD1-Ppk8SfM1cgYZrIjMFtYCIA-BMR0d-eKXYHaWlB3BQOgVT29mPK7FBU3VKA4DIEDNDCIbrEnpQvXS35R1ftxqSN7lz/The%20Killer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii3xkx-KJ8BN0DCcxkThj8zSe2cwWClQPKcRQXBliFP4wt0A4fn6jDTWY3fYoUeLxN7qiFgNijSoNEI02g-P5rh_3GYho1akFYD1-Ppk8SfM1cgYZrIjMFtYCIA-BMR0d-eKXYHaWlB3BQOgVT29mPK7FBU3VKA4DIEDNDCIbrEnpQvXS35R1ftxqSN7lz/w400-h225/The%20Killer.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>"If the rule you followed brought you to this, of what use was the rule?"</i> So goes the classic Anton Chigurh quote from <i>No Country For Old Men</i>, and it's one to think about while watching David Fincher's latest too. Through serene narration, the titular killer constantly tells the audience the rules he follows to ensure success and survival in his line of work as an assassin for hire, and yet for all of his strict adherences to a set of principles, for all of his self-assurances to "anticipate and not improvise," things still go awry. It's easy to read <i>The Killer</i> as an expression of self from David Fincher, a man notorious for his exacting nature and love of repetition, but even without recognizing the meta angle, it's a gripping watch. That precision of his allows for an aerodynamic experience, where nothing is astray and everything glides along beautifully. In its obsession with process and observation, the film allows the viewer to do the same, trusting them to understand how the dots of plot that mark each chapter are connected without needing a line drawn between them. It's much more rewarding for doing so too, adding up to a film that's a tense, darkly humorous, existential delight.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>11. John Wick: Chapter 4 (Directed by Chad Stahelski)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8OJXyS-7M5qFVlKT0beEZqZ-R97bzOvRsAgRUVLnzQ7jLPf2qXcbHk291FV0iDABw4fYnNnhSSr5mbRt4zeA3_MHpZCkXcpNO2vAXyVRFcR2yHmAGc8Qx8tuTCMzDp9Wbg09bnk697gTXNIj98ymKgMo4702LiaHk-XTIQWkJuH0rt7-TeGfW4gk1qc4b/John%20Wick%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="1099" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8OJXyS-7M5qFVlKT0beEZqZ-R97bzOvRsAgRUVLnzQ7jLPf2qXcbHk291FV0iDABw4fYnNnhSSr5mbRt4zeA3_MHpZCkXcpNO2vAXyVRFcR2yHmAGc8Qx8tuTCMzDp9Wbg09bnk697gTXNIj98ymKgMo4702LiaHk-XTIQWkJuH0rt7-TeGfW4gk1qc4b/w400-h225/John%20Wick%204.jpg" width="450" /></a></div></div><div style="text-align: left;">It's rare, and maybe even unprecedented, for an action series to improve with each installment, but that's exactly what the <i>John Wick</i> franchise had been doing, and <i>Chapter 4 </i>is no different. Had it only rested on recruiting the legendary Donnie Yen to play a blind assassin, that would have been enough, but the latest installment goes bigger and better in every regard. Its globetrotting adventure makes the lore that had been threatening to weigh down the series the most fun and engaging it has ever been. And of course, there's the action, which doles out one jaw-dropping sequence after another. With an unparalleled variety, ingenuity, and rhythm, the <i>Wick</i> franchise points to a way forward for blockbuster action filmmaking. Though its mythic ending has beautiful poetry as a conclusion to the franchise, the prospect of seeing how they can top themselves again is awfully enticing.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>10. Roald Dahl Shorts (Directed by Wes Anderson)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl4NcAwEPXLzyySNXoejbwDbF7E23SacRInK9Z5X6-saLkAnsi6yOFfpvyEcDX5_QG1p26fekuKZRn62JCG3gpfhJEada8mLdYZfN8tsWJibWhqwvkDrhkT5k8XmASRyTbj8-Hlxc8xm_YqhNGGPEM2wbGRO8uAOyQ7WPKkoVBMDTvqd-PQoyxSoCZixgJ/s1280/Roald%20Dahl%20shorts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl4NcAwEPXLzyySNXoejbwDbF7E23SacRInK9Z5X6-saLkAnsi6yOFfpvyEcDX5_QG1p26fekuKZRn62JCG3gpfhJEada8mLdYZfN8tsWJibWhqwvkDrhkT5k8XmASRyTbj8-Hlxc8xm_YqhNGGPEM2wbGRO8uAOyQ7WPKkoVBMDTvqd-PQoyxSoCZixgJ/w400-h225/Roald%20Dahl%20shorts.jpg" width="450" /></a></div><div style="text-align: left;">Wes Anderson has never been a filmmaker who works for me. It's a source of great shame and frustration, both because people I respect love his work and also due to the fact that many of his detractors tend to be very irritating about it. But try I as might, his manicured style that calls attention to the artifice of moviemaking always gets in the way of me responding to the emotional moments that clearly move others. Even <i>Asteroid City</i>, his full-length film that also came out this year, was unsuccessful. But something clicked with his adaptation of four Roald Dahl shorts -- <i>The Wonderful Story of Henry Sugar</i>, <i>The Swan</i>, <i>The Rat Catcher</i>, and <i>Poison</i> -- which also came out this year. It might be that Dahl's prose, which gets included largely unaltered, is better. The love of language is palpable here, and the stories are carried by their rhythmic, rapid dialogue. Anderson's visual sense has never been an issue, and the length of these shorts means that he can dispense with his usual emotional falseness and deliver a full-on style assault. It's almost disorienting how these shorts pull you through a whirlwind of moving sets, formally dazzling compositions, and imaginative strategies to keep every tale down to their bare essentials. What Wes Anderson pulls off is simply astonishing. Maybe he should work from Dahl source material forever.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>9. Leave the World Behind (Directed by Sam Esmail)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizu6gfuuQJXsgtaq6_v4pPltb2yqJJx4AtMHUCXZCQB3TjYuh982wWb04Xg4nOpuFuTZuWmw-Jf8lrN35x87W8__Jm9CCnqgc2-O_OcgygwgYFwxOGfeZ8ZiwFif3iqFYLJQV0IoFzJjIENaWKGBemPkMbykc-sQDePpN1stNK82rNbFK7aRRhD4qompa9/Leave%20the%20World%20Behind.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="1480" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizu6gfuuQJXsgtaq6_v4pPltb2yqJJx4AtMHUCXZCQB3TjYuh982wWb04Xg4nOpuFuTZuWmw-Jf8lrN35x87W8__Jm9CCnqgc2-O_OcgygwgYFwxOGfeZ8ZiwFif3iqFYLJQV0IoFzJjIENaWKGBemPkMbykc-sQDePpN1stNK82rNbFK7aRRhD4qompa9/w400-h225/Leave%20the%20World%20Behind.jpg" width="450" /></a></div></div><div style="text-align: left;">There's too much expectation these days for a movie to be "about" something. Is it not enough anymore to have your face blasted off by the power of pure cinema? If you squint enough, you could make the argument that <i>Leave the World Behind</i> has cogent things to say about America's deep fracture leaving us unprepared to deal with a crisis, or humanity at large's tendency to close ranks and think only of themselves when it comes down to it, but that's not really what's compelling here. Instead, the film uses its story -- the details of which are best kept under wraps -- to foment chaos and paranoia, creating an experience that's always entertaining and disorienting. It's an excellently directed movie, with a little bit of Shyamalan in the way it uses the camera to create tension and a hint of Spielberg in the pop filmmaking of its setpieces. Those are obviously pretty lofty comparisons, but <i>Leave the World Behind </i>is impressive enough to earn them.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>8. You Hurt My Feelings (Directed by Nicole Holofcener)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMF9URIhNDSBRuAfeE1f7XmYWyQ6EZNcfsSOw89I-zBOde-sgEBofhsgnd9XfoE5jZkzgWviiekHz5fTqcIrrFcD-Z_G5fY6WmeOln1wl6Qjku4tY_9yc4TBrEYZq01XCI60vGTr1PWc5ZGud8EZqx2hrTFniz7J-JPjFiJu36LYptT-FIbmyGbbjFSRvT/You%20Hurt%20My%20Feelings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="2560" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMF9URIhNDSBRuAfeE1f7XmYWyQ6EZNcfsSOw89I-zBOde-sgEBofhsgnd9XfoE5jZkzgWviiekHz5fTqcIrrFcD-Z_G5fY6WmeOln1wl6Qjku4tY_9yc4TBrEYZq01XCI60vGTr1PWc5ZGud8EZqx2hrTFniz7J-JPjFiJu36LYptT-FIbmyGbbjFSRvT/w400-h225/You%20Hurt%20My%20Feelings.jpg" width="450" /></a></div></div><div style="text-align: left;">It often can be gratifying to watch the new work of a filmmaker you love simply because of the way it's in conversation with everything else in their oeuvre. <i>You Hurt My Feelings</i>, like pretty much all of Nicole Holofcener's work, is largely about what it is that we owe to others. What's the best way to support the ones we love? If you don't like the new book your wife is writing, do you pretend that you do or just tell the truth? Holofcener uses these questions, along with the general dejection her four middle-aged protagonists feel with their careers, to tell a funny, knowing tale about the little lies we tell to minimize friction in our lives. There are all these little motifs -- self-image issues and cosmetic surgery, the ways parents relate to their children, characters subconsciously projecting their anxieties outward -- for longtime fans to chew on as well. <i>You Hurt My Feelings</i> is another meaty film in the guise of a lightweight trifle from one of cinema's most unsung filmmakers.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>7. Priscilla (Directed by Sofia Coppola)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJWFJ7-XoMMZAU2LnV-xuHI7EWOQ_F4LnzjeTMjRzYB_KRcXi7tfXjzZ__k7ntB2L0vry61hA-ckHFRgD1DLSuZVXZ9tkUPMnm801vKtaelfmLP26-7oYSukAoHfjk5zrbCGqONysmZCv8hjBol84wnXDbmEJunFuzSSH0exmZJB-ZkdgJrZTrzpnlx25J/Priscilla.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJWFJ7-XoMMZAU2LnV-xuHI7EWOQ_F4LnzjeTMjRzYB_KRcXi7tfXjzZ__k7ntB2L0vry61hA-ckHFRgD1DLSuZVXZ9tkUPMnm801vKtaelfmLP26-7oYSukAoHfjk5zrbCGqONysmZCv8hjBol84wnXDbmEJunFuzSSH0exmZJB-ZkdgJrZTrzpnlx25J/w400-h266/Priscilla.jpg" width="450" /></a></div></div><div style="text-align: left;">Sometimes a director has a thing that they do better than anyone else. For Sofia Coppola, it's crafting gauzy, hermetically sealed little wonders that are so delicate they might crumble at the slightest touch. And when you have a unique gift, it's best not to run away from it, as she tried to do with <i>The Bling Ring</i>, <i>The Beguiled</i>, and <i>On the Rocks</i>. Those are all good-to-great films, but they aren't major works. <i>Priscilla</i> is. Coppola keeps the film so locked into Priscilla Presley's perspective with immense close-ups of her face, and even when the camera is not on her, it's concerned with evoking how things feel and appear to her. And she uses the camera and graceful writing to display all the ways that Elvis treats Priscilla like a doll to dress up and play with whenever he sees fit, always reminding you of the latter's girlhood through details in the costuming, and by frequently blocking her in a manner that's subordinate to Elvis. It's a muted film, but always hypnotizing thanks to Sofia Coppola's habit of making you feel like there's no screen between you and what you're seeing. If Baz Luhrmann's meretricious style was the perfect fit for last year's vacuous, exhausting <i>Elvis</i>, then there's no better director for this much superior sister film.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>6. Showing Up (Directed by Kelly Reichardt)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsqzU1GN8MzNgm_DxEKdEJjQqAOOnLmeLk-GY4D6dd3ldEXrmOByr0wEhRVK48TWOU8kVaK1gBCoLE_5K6Xu91XBR7Pz1YbEhj7_F2YY1snzS5ArXzBeaBDub9d14G5j81uXG9Rcyoxdv6BBWqKI1giLjXev9ln5sRLV2tupnH8VQzj5pVeqQAZvjsUa71/Showing%20Up.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="1400" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsqzU1GN8MzNgm_DxEKdEJjQqAOOnLmeLk-GY4D6dd3ldEXrmOByr0wEhRVK48TWOU8kVaK1gBCoLE_5K6Xu91XBR7Pz1YbEhj7_F2YY1snzS5ArXzBeaBDub9d14G5j81uXG9Rcyoxdv6BBWqKI1giLjXev9ln5sRLV2tupnH8VQzj5pVeqQAZvjsUa71/w400-h225/Showing%20Up.jpg" width="450" /></a></div></div><div style="text-align: left;">Deliberately paced though they may be, the films of Kelly Reichardt often have high-stakes plots attached to them. The Oregon Trail trek of <i>Meek's Cutoff</i>, the lost dog search in <i>Wendy & Lucy</i>, the eco-terrorism that makes up <i>Night Moves</i>; that mixture of tense and low-key make a potent concoction. It's not like <i>Showing Up</i>, about the quotidian drama in the life of a sculptor in Oregon, is the first Reichardt flick that's plot-light, but her ability to make simple matters rewarding continues to astound. Helped by a perfectly-pitched lead performance from Michelle Williams, who's comfortable in her fourth collaboration with the filmmaker, <i>Showing Up</i> marinates in the joys and difficulties that come from the day-to-day process of making art.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>5. Oppenheimer (Directed by Christopher Nolan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwlfBMynMQmZiDhxSWatHqhzfY3SabbRbw2KasVnydifRDH7wchbdzAXv_3d1zhx0JAUEw-GP2S8lKeeXWRmQw8WHOQqAKf9J-AhbGhr_maHw-B5iDGrBTduNNHR659Zd8M9R-iiwUROcd1JPXvFvWu8P9zHiCB75TDOo13hTeWqrie8fGBxt3gr2MT3oY/Oppenheimer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3776" data-original-width="5400" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwlfBMynMQmZiDhxSWatHqhzfY3SabbRbw2KasVnydifRDH7wchbdzAXv_3d1zhx0JAUEw-GP2S8lKeeXWRmQw8WHOQqAKf9J-AhbGhr_maHw-B5iDGrBTduNNHR659Zd8M9R-iiwUROcd1JPXvFvWu8P9zHiCB75TDOo13hTeWqrie8fGBxt3gr2MT3oY/w400-h280/Oppenheimer.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Oppenheimer</i> is a deeply mournful film. Mournful about the circumstances that "necessitated" the creation of the atomic bomb, mournful about the thousands of lives lost as a result of dropping them on Japan, mournful about the negative implications that have only exponentiated since then. And yet, thanks to a combination of Christopher Nolan's heady script and Jennifer Lame's rhythmic editing, it's never a slog. It ponders theory vs. action, and how one can only take you so far, in a way that's always engrossing. And its exploration of the varying degrees of guilt people feel in their involvement in ringing a bell that can't be unrung is fascinating. <i>Oppenheimer</i> will wring you dry, and no amount of Barbenheimer memeing can make you feel better.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>4. Knock at the Cabin (Directed by M. Night Shyamalan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6q58JV2jiikS0tvxo5jvmpWYfVkZsaqKdL0Oj3y0YA8xGRNbHhMnmLQua6p7Oq5bYb7nGgXCNJEM6ScuibKOB0lX_BKc3HR26H4eC_gHSbioU_LUpts2OLlW8VYnOhwQPdj37X9xDbAzaRBG8Vu11gDzFGiFGBLOvNfuU3OmS6TiMFTifWQKuh6Ljg3-G/Knock%20at%20the%20Cabin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="654" data-original-width="980" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6q58JV2jiikS0tvxo5jvmpWYfVkZsaqKdL0Oj3y0YA8xGRNbHhMnmLQua6p7Oq5bYb7nGgXCNJEM6ScuibKOB0lX_BKc3HR26H4eC_gHSbioU_LUpts2OLlW8VYnOhwQPdj37X9xDbAzaRBG8Vu11gDzFGiFGBLOvNfuU3OmS6TiMFTifWQKuh6Ljg3-G/w400-h268/Knock%20at%20the%20Cabin.jpg" width="450" /></a></div></div><div style="text-align: left;">The days of M. Night Shyamalan being a laughing stock amongst cinephiles feels like a distant memory, as he's now made his second best-of-the-year candidate in a row. <i>Knock at the Cabin</i> is another exquisite thriller from the man once dubbed the new master of suspense. Shyamalan's visual talent makes it so that the film is always tense and arresting, even as it largely takes place in a single room. And it also ends up being one of the director's most emotional films, pondering faith and what it means to be asked to sacrifice yourself for a world that's hostile to you. Films released earlier in the year tend to get glossed over when list-making season comes around, but the pressure cooker intensity of <i>Knock at the Cabin</i> still resonates after all these months.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>3. Past Lives (Directed by Celine Song)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicScP8Vom8mdaMRCtACHzEECjneppeWRtQ8Y-mCdv_5fY-qWFeqHtVvOkHdQxg3CeqpGAvpLnOAzBCeR9T-lFOmVKlN1Oc8p7MdvOzCXTx7Zj3qUHXzc_FygkWZbTvQG2x53u0_eNZ-tjDxTt0uQEBTDUfi2CZVw5fv2Q7ivtWaqPfloJDBtfo5PnFpK9G/Past%20Lives.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1400" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicScP8Vom8mdaMRCtACHzEECjneppeWRtQ8Y-mCdv_5fY-qWFeqHtVvOkHdQxg3CeqpGAvpLnOAzBCeR9T-lFOmVKlN1Oc8p7MdvOzCXTx7Zj3qUHXzc_FygkWZbTvQG2x53u0_eNZ-tjDxTt0uQEBTDUfi2CZVw5fv2Q7ivtWaqPfloJDBtfo5PnFpK9G/w400-h300/Past%20Lives.jpg" width="450" /></a></div></div><div style="text-align: left;">As you go through life, the accumulation of choices you make continue to pile up, which means there's also an accumulation of choices <i>not</i> made, a byzantine network of roads not taken that lie in the rearview mirror. <i>Past Lives</i> protagonist Nora has to wrestle with that concept when she reconnects with her childhood love, with whom she lost touch when her family moved from Korea to Canada in 2000, and then again after they found each other on Facebook in 2012. Now married and in her mid-30s, Nora being presented with this part of her past forces her to ponder what it means to have these two distinct selves, and how difficult it can be to reconcile what is with what could've been. The film plays out in a manner much less dramatic than its premise might promise, but its subtlety and interiority starts to overwhelm your emotions by the time that gorgeous final scene arrives. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>2. Are You There God? It's Me, Margaret. (Directed by Kelly Fremon Craig)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju8d6DTGrZzgQS1OAdVIjolbcxzt7IniI7RRXO-DstGwpX4ZGOKDYNrYa2VtWSf3H1zhvLK727REvKgZU19vMd38LGW77siR8gqwftIE7Hl5Bz8QphKpLWXvzlyp3P4ryT1OnMfdqkRRhdc5kBr9S5nPdWN_glakPSzW9oGZHNXk5andp5stlzjUD4ebMY/Are%20You%20There%20God.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1314" data-original-width="2470" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju8d6DTGrZzgQS1OAdVIjolbcxzt7IniI7RRXO-DstGwpX4ZGOKDYNrYa2VtWSf3H1zhvLK727REvKgZU19vMd38LGW77siR8gqwftIE7Hl5Bz8QphKpLWXvzlyp3P4ryT1OnMfdqkRRhdc5kBr9S5nPdWN_glakPSzW9oGZHNXk5andp5stlzjUD4ebMY/w400-h213/Are%20You%20There%20God.jpg" width="450" /></a></div></div><div style="text-align: left;">Judy Blume's 1970 novel <i>Are You There God? It's Me, Margaret</i>. is such a cherished cultural touchstone that even those who have never read it are probably intimately familiar with it from how frequently it comes up in other media. It's a mystery why it took over 50 years for the story to be adapted to the big screen, but thankfully it landed in the right hands with writer-director Kelly Fremon Craig, whose 2016 debut <i>The Edge of Seventeen </i>was not just the best coming-of-age film in a long time, but <a href="https://yeahthatantonio.blogspot.com/2020/01/my-50-favorite-films-of-decade-2010-2019.html">one of the best films of its decade</a>, period. Fremon Craig sharpened her teeth under James L. Brooks' production company, and his spirit lives on in <i>Seventeen</i> and <i>Margaret</i> alike, both exhibiting writing that's perfectly attuned to the emotions and inner lives of its characters. It feels like the whole world is contained in <i>Are You There God? It's Me, Margaret.</i>, a film that's deeply humane and filled with moments of deft emotional honesty. The scene where Margaret's mother (played in the best performance of the year by Rachel McAdams) explains to her why her grandparents aren't in their lives is particularly breathtaking in that regard. In a perfect world, a film like this would be a huge hit, but like its source material, it's bound to make an impact on those who do experience it anyway.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>1. Killers of the Flower Moon (Directed by Martin Scorsese)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitN1P-i4AiqIPn36oJFs7Y2ZxIUmOQMzEyNVlA7X4a9KLifOnGADTjO7LECBiunC0-gH-jBiAVBNkuN86NP5zsFe9bD_Hvv5VyzTolLJ8NzqCppNP2ek4PQ48boZqCFyShTj1qiQbAdxfbtwqM9l5a8yzN6OL52TJr8-6ff9L0vj8CzDJDAYeOVvPgj-R2/Killers%20of%20the%20Flower%20Moon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2897" data-original-width="5150" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitN1P-i4AiqIPn36oJFs7Y2ZxIUmOQMzEyNVlA7X4a9KLifOnGADTjO7LECBiunC0-gH-jBiAVBNkuN86NP5zsFe9bD_Hvv5VyzTolLJ8NzqCppNP2ek4PQ48boZqCFyShTj1qiQbAdxfbtwqM9l5a8yzN6OL52TJr8-6ff9L0vj8CzDJDAYeOVvPgj-R2/w400-h225/Killers%20of%20the%20Flower%20Moon.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Killers of the Flower Moon</i> is an American epic, with everything that entails. It's a film that uses the language and signifiers of that classification to tell what's always been the real story of our nation: the taking of what isn't ours and killing anyone who gets in the way. Over its mammoth 206-minute runtime, the film recounts <a href="https://en.wikipedia.org/wiki/Osage_Indian_murders">the Osage murders in the 1920s</a> and the actions of the men who conspired to commit them in stark, unblinking detail. Well into his sixth decade as a filmmaker, Martin Scorsese exhibits a mastery of tone and image in the telling of this story. Genuine humor and grisly horrors arrive in quick succession. There are juxtapositions of images and sequences that are so powerful in their communication of ideas that words could never do so elegantly. And in its interrogation of William Hale, Ernest Burkhart, and the men who conducted such unfathomable evil, the film arrives at a surprising and graceful self-interrogation about the way real tragedy is often re-rendered as entertainment. Elder statesmen directors can sometimes get handled with kid gloves because we're just happy that they're still making films at all. That isn't the case with <i>Killers of the Flower Moon</i>, some of the most vital and potent work of Scorsese's long career.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;">Well, that wraps things up for my best films of 2023 list. I love reading other lists, so feel free to share yours in the comments. Or if you have any thoughts on my list, then you can do that too. To see a complete ranked list of all the 2023 films I've seen this year, along with a list of my favorite performances and some other data, you can find them on <a href="https://docs.google.com/document/d/1SLnOxGYso6dIg3TG8a071hZhpTsWmVu3BzdPJ7WGOJU/edit?usp=sharing">this Google Doc</a>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2022/12/my-20-favorite-films-of-2022.html">2022</a></div><div><a href="https://yeahthatantonio.blogspot.com/2021/12/my-15-favorite-films-of-2021.html">2021</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-15-favorite-films-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-films-of-2019.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-films-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-films-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-films-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-films-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-films-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-films-of-2013.html">2013</a></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com6tag:blogger.com,1999:blog-2395748504986705619.post-34417937812275377702023-12-29T00:01:00.859-05:002023-12-29T00:01:00.245-05:00My 20 Favorite Albums of 2023<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5MbeehLFwXeKCoY1txlzXvFEhryqq_svWY3Yzw7S41hY1dyyyJpsawHWd12KrkQ4tFsHb9rIpIR12owofUP2jwaAlZfvxGXTCxE5PtAEm09Fz9R7rYadgnKOTRiQjGn_phUwSsiFi-fx7iPiINJob2WsZWRHXVZ3HxiyQArwZXswY-Vo1Wdw0L686a516/s2048/best%20of%20music%20picture.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1536" data-original-width="2048" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5MbeehLFwXeKCoY1txlzXvFEhryqq_svWY3Yzw7S41hY1dyyyJpsawHWd12KrkQ4tFsHb9rIpIR12owofUP2jwaAlZfvxGXTCxE5PtAEm09Fz9R7rYadgnKOTRiQjGn_phUwSsiFi-fx7iPiINJob2WsZWRHXVZ3HxiyQArwZXswY-Vo1Wdw0L686a516/w400-h300/best%20of%20music%20picture.jpg" width="500" /></a></div><div style="text-align: left;"> <br />2023, huh? What a year. I don't know that there were any releases this year that had an instant classic cultural status, nor were there any ones that personally blew me away completely, but that was made up for by the fact that there were so many albums that were very strong even if they weren't era-defining. According to my Last.fm, I've racked up 12,627 song plays this year at the time of writing this, so I was listening to quite a bit of music in 2023. Here's a rundown of some of my favorites that took up much of that listening time.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> Everything is the same as usual. The window of eligibility for this list is anything released from January 1, 2023 to now. This list can include albums, mixtapes, EPs, and anything in between.</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Honorable Mentions (25-21)</b></div><div style="text-align: left;">On perhaps her best work since cult favorite <i>Emotion</i>, <b>Carly Rae Jepsen</b>'s <i>The Loveliest Time</i> lives up to its name with her delightful bops. While <b>Slow Pulp</b> don't necessarily reinvent the wheel with their music, <i>Yard</i> is a particularly excellent piece of emotive indie rock. With an impeccable sense of cool and tunes to match, <b>bar italia</b> make hypnotizing post-punk on <i>Tracey Denim</i>. Speaking of post-punk, <b>Paramore</b> channel the 2000s strain of it into <i>This is Why</i>, their rousing comeback after six years away. <b>Origami Angel</b> pared down the super-sized ambitions of their previous double album and gave us eight-song mixtape <i>The Brightest Days</i>, but they didn't lose any of their catchy charm in the process.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBWZhme3larPLShWhyphenhyphenp1ZQFfRjQ9bq87jCm4AXXp0YNOS-FbJXVdRfMHW85Ey1kbEwwj9B-hkApIPoKen2vbgNz32iWaqgt1NddJJTUg2GWC0SSJyUyEtTlJLXy18fYT84u3K4J_AEnO2188wKqWOdwNuf0dLIqwjLm6KC2tUSeSgvpmAoHk2MQYsLMg1/s700/DJ%20Sabrina%20the%20Teenage%20DJ%20-%20Destiny.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBWZhme3larPLShWhyphenhyphenp1ZQFfRjQ9bq87jCm4AXXp0YNOS-FbJXVdRfMHW85Ey1kbEwwj9B-hkApIPoKen2vbgNz32iWaqgt1NddJJTUg2GWC0SSJyUyEtTlJLXy18fYT84u3K4J_AEnO2188wKqWOdwNuf0dLIqwjLm6KC2tUSeSgvpmAoHk2MQYsLMg1/w200-h200/DJ%20Sabrina%20the%20Teenage%20DJ%20-%20Destiny.jpg" width="150" /></a></div><b>20. DJ Sabrina the Teenage DJ - <i>Destiny</i></b><div>At 41 tracks totaling just under four hours, <i>Destiny</i> is certainly one of the most daunting records of the year, but it's worth the undertaking because it contains so much incredible music within it. Blending the sample-heavy plunderphonics of The Avalanches' <i>Since I Left You</i> with the playful spirit of Daft Punk, <i>Destiny</i> hits you with waves of euphoria and nostalgia. Despite how difficult it seems from the outside, its learning curve is pretty low, more designed for you to check in and out of at will than requiring your constant attention -- all the better for it to catch you off guard with a crescendo that grabs you when you're least expecting it. Its songs smear together and go on long journeys that are entrancing, endorphin-releasing experiences. No matter how you approach <i>Destiny</i>, you're bound to get some kind of reward out of it. It's basically a Choose Your Own Adventure novel in audio form.</div><div><b><br /></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=i2uKTy-1WJw">Brave</a></div><div>2. <a href="https://www.youtube.com/watch?v=eRsYp9UaQGQ">Dance Now</a></div><div>3. <a href="https://www.youtube.com/watch?v=W_xmL7dMXdQ">Actions Speak Louder</a><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSqf2u2oSTeWX9cS7RnQAIzaVpNsjYOiahKf8-XykqSZS9fPdRHiwGbzqSaVABoFve4Jr1EKJ6KoTMMmgI-z5V9d5WBOnefsrRcZlfBcJJEuwa5aPsN2vKS4TEJD2sbkU0gN_fZffo50VnnktO3dVtjP0YIy2X3zNKGnyOunQpp3e8v6i3NP9psHLsarzQ/s1200/Gumm%20-%20Slogan%20Machine.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSqf2u2oSTeWX9cS7RnQAIzaVpNsjYOiahKf8-XykqSZS9fPdRHiwGbzqSaVABoFve4Jr1EKJ6KoTMMmgI-z5V9d5WBOnefsrRcZlfBcJJEuwa5aPsN2vKS4TEJD2sbkU0gN_fZffo50VnnktO3dVtjP0YIy2X3zNKGnyOunQpp3e8v6i3NP9psHLsarzQ/w200-h200/Gumm%20-%20Slogan%20Machine.jpg" width="150" /></a></div>19. Gumm - <i>Slogan Machine</i></b></div><div style="text-align: left;"><div><i>Slogan Machine </i>makes the most out of its 22 minutes. Just listen to "No Frontier," which is only three minutes and has three of the sickest riffs you'll ever hear in it. This is a nasty, hulking beast of an album. It's all menacing guitars and pummeling drums, then at the perfect moment something resembling a hook rises to the surface, as it does on "Slogan Machine," and it's pure bliss. It's difficult to describe in terms that aren't purely visceral. You'll furrow your brow in a mean looking way when you hear the charging bull momentum of "Give You Back Your Youth," and they'll make you screw your face up in inhuman directions when the guitar bend in the "Crowded Mind" riff hits. Sometimes with music, words fail you. Give yourself over to <i>Slogan Machine </i>and you might find the same thing happening to you.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=ivlTKlGMfV4&pp=ygUQZ3VtbSBubyBmcm9udGllcg%3D%3D">No Frontier</a></div><div>2. <a href="https://www.youtube.com/watch?v=xtbfFAXBbos">Slogan Machine</a></div><div>3. <a href="https://www.youtube.com/watch?v=JhSZCKa5c2o&pp=ygUdZ3VtbSBnaXZlIHlvdSBiYWNrIHlvdXIgeW91dGg%3D">Give You Back Your Youth</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSueytxzFkhbNjUG3ab5zY-gxP6mFZ-G4HJwK133iu95dsG7JitMrPurgXTEGLynhXuLMgfd83N0jYDGS1Gm_Pu5oExauH5K_T9jQ7G_9IfX_Ok76Sf6d5Rv9IPznL4IBGEzo6VqlhIZKIVyadRTX4K1huVm5mtwqjbeWwR57y0Eiyan1EksYKFnsKqtCt/s425/Wednesday%20-%20Rat%20Saw%20God.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="425" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSueytxzFkhbNjUG3ab5zY-gxP6mFZ-G4HJwK133iu95dsG7JitMrPurgXTEGLynhXuLMgfd83N0jYDGS1Gm_Pu5oExauH5K_T9jQ7G_9IfX_Ok76Sf6d5Rv9IPznL4IBGEzo6VqlhIZKIVyadRTX4K1huVm5mtwqjbeWwR57y0Eiyan1EksYKFnsKqtCt/w200-h200/Wednesday%20-%20Rat%20Saw%20God.png" width="150" /></a></div>18. Wednesday - <i>Rat Saw God</i></b></div><div style="text-align: left;"><div>If life is nothing but an accumulation of details, then <i>Rat Saw God</i> is full of life. Lead singer Karly Hartzman piles her stories with rich specificities: hot breath looming off the grill of a truck, a bird flying through the window every day at the same time, taking too much Benadryl and needing to get your stomach pumped, having sex in the back of an SUV in some cul-de-sac underneath a dogwood tree, a kid sipping piss-colored bright yellow Fanta, overhearing that someone died in a Planet Fitness parking lot, the rain-rotted house on the dead end of Baytree, neighborhood boys sitting in a baby pool watching their parents fight on the front lawn in their underwear, the kid from the Jewish family who got the preacher's kid pregnant, a police call for a domestic dispute leading to a discovery that the house is a front for a mob thing, the sex shop off the highway with a biblical name, TVs in gas pumps blaring in the dark. That rich lore would make the album special even if the tunes weren't good, which thankfully they are.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=SjKU1qVhJl4">Quarry</a></div><div>2. <a href="https://www.youtube.com/watch?v=N8yj9A-JCRY">Turkey Vultures</a></div><div>3. <a href="https://www.youtube.com/watch?v=a25WDsNftVU">TV in the Gas Pump</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc0fz_ZUQ8mWg0ruGucVHm_jd5jtI1x_sZi8qlYlLDpL2x8P_GN2JEiRR70kd2iNobjKqc__kPoiDYu9n8WkM-Y7Yx1ZW0Gz7YzeVm8uWQKaaqogEWcNc4KfZFzHEs1CzfPzchun7wAdNHDs_QJZ_2DVQ-cKDgrSioCDyOEUfwotJtWWJATctnR-ub2XKM/s788/Olivia%20Rodrigo%20-%20Guts.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="788" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc0fz_ZUQ8mWg0ruGucVHm_jd5jtI1x_sZi8qlYlLDpL2x8P_GN2JEiRR70kd2iNobjKqc__kPoiDYu9n8WkM-Y7Yx1ZW0Gz7YzeVm8uWQKaaqogEWcNc4KfZFzHEs1CzfPzchun7wAdNHDs_QJZ_2DVQ-cKDgrSioCDyOEUfwotJtWWJATctnR-ub2XKM/w200-h200/Olivia%20Rodrigo%20-%20Guts.png" width="150" /></a></div>17. Olivia Rodrigo - <i>GUTS</i></b></div><div style="text-align: left;"><div>The amazing thing about <i>Sour</i> was that it was such a confident debut, even though it still pointed to Olivia Rodrigo being a work in progress as an artist. Her sophomore album might be that work becoming fully formed, starting things off with "all-american bitch," the perfect encapsulation of the sweet and sour mix that's at the heart of the Olivia Rodrigo project. True to its title, <i>Guts</i> sifts through messy emotions with clear eyes and a fiery spirit. Rodrigo puts a voice to alienation so well -- alienation from peers, from men who've wronged her, and even from her own body on "pretty isn't pretty." And those roiling feelings are served with a lethal injection of plucky pop songwriting. "Bad idea right?" is a blast of invigorating insouciance, all buzzsaw guitars and playful line deliveries. "Ballad of homeschooled girl" has so much energy it could power several residential blocks. There are still some kinks to work out -- she has that zoomer pop artist habit of being overly enamored with ballads -- but we've got a real deal talent on our hands here.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=obSpLSnJ-wI">ballad of a homeschooled girl</a></div><div>2. <a href="https://www.youtube.com/watch?v=42sOpkjETGo">pretty isn't pretty</a></div><div>3. <a href="https://www.youtube.com/watch?v=EA1jZEjqNsU">love is embarrassing</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQJ3JCplYhu0THQmwd-rrVuBMGn4GJbJK2B7GYn7rN1ValX5HHDMy8ba577lM6W4pd76oELyVY0chUhoz5scE2NbyR5JZwYLKNTrTVKctFopmdize_0ThjaMtt10FpvCp_3PmT9WuaSN1gdQCAw2uwnYhEOaTWIFDYHwsnynYcziLjJaWPDSpMQyp4mQQ/s700/En%20Attendant%20Ana%20-%20Prinicipia.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQJ3JCplYhu0THQmwd-rrVuBMGn4GJbJK2B7GYn7rN1ValX5HHDMy8ba577lM6W4pd76oELyVY0chUhoz5scE2NbyR5JZwYLKNTrTVKctFopmdize_0ThjaMtt10FpvCp_3PmT9WuaSN1gdQCAw2uwnYhEOaTWIFDYHwsnynYcziLjJaWPDSpMQyp4mQQ/w200-h200/En%20Attendant%20Ana%20-%20Prinicipia.jpg" width="150" /></a></div>16. En Attendant Ana - <i>Principia</i></b></div><div style="text-align: left;"><div>French quintet En Attendant Ana make music that gives the feeling of a word that's right at the tip of your tongue, something you know but can't quite name. Their brand of indie pop has a comforting familiarity, even if you're unable to pinpoint any exact influence on their sound. The band sports some impressive instrumentation given the easygoing nature of their songs. It feels like all five instruments get equal prominence in the mix, dancing around each other and rewarding close listening. "Wonder" -- one the best songs of the year -- is the pinnacle of that, a chugging rocker that repeats and builds upon itself for six thrilling minutes. And the added element of brass in most of their songs gives them a unique quality, infusing them with an extra texture and sense of sweep. <i>Principia</i> isn't a high-stakes or ambitious album, but its coy, wistful songs are full of feeling. We'd be better off if there was more music like this.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=-8P4wmaJzoE">Wonder</a></div><div>2. <a href="https://www.youtube.com/watch?v=QVTOh1ffqHg">Fools and Kings</a></div><div>3. <a href="https://www.youtube.com/watch?v=PCo8-c5-rhk">Ada, Mary, and Diane</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifELDa5NxDOrfWbyvDtC06-tQXoURDGj7VDda5KHR2dkR6UFgKOIaQdfYgfvHl5uEkQULZ3kaAEArXhO3mQTk4slK5FhiOynd572QJUNTf7yjB3esVU4o8nVUIccGyaRvNi3m892gWMzwyK_2Gdd0e0eU8ZdWSqvrBc_gshjOsaMXW_wa_TkXnci5Uvmn0/s300/Young%20Thug%20-%20Business%20is%20Business.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifELDa5NxDOrfWbyvDtC06-tQXoURDGj7VDda5KHR2dkR6UFgKOIaQdfYgfvHl5uEkQULZ3kaAEArXhO3mQTk4slK5FhiOynd572QJUNTf7yjB3esVU4o8nVUIccGyaRvNi3m892gWMzwyK_2Gdd0e0eU8ZdWSqvrBc_gshjOsaMXW_wa_TkXnci5Uvmn0/w200-h200/Young%20Thug%20-%20Business%20is%20Business.png" width="150" /></a></div>15. Young Thug - <i>Business Is Business</i></b></div><div style="text-align: left;">Before <i>Business Is Business</i>, it seemed like Young Thug's best days were well behind him, and there was nothing wrong with that. When you go on an insane imperial phase run the way he did up until about 2019, you're bound to slow down and show evidence of your mileage. The same thing happened to his closest antecedent, Lil Wayne, after <i>Tha Carter III</i>. This album isn't necessarily up there with his peak work, but it is his best release in a minute. On an assortment of tracks recorded over the last few years -- in case you haven't heard, he's currently in the midst of a criminal trial after being indicted in a huge RICO case -- Thug delivers triumphant music that features everything he does best. He flexes his hooky side on various songs. He gets downright weird on "Uncle M." He drops iconic lines like "I saved the world in a dress, baby." He and Future switch lanes like a Ferrari and Jaguar on "Cars Bring Me Out." If you want an example of the value of what he does, see how he skates on "Wit Da Racks" while Travis Scott tries something similar with his verse and completely flops. Things aren't looking good for Young Thug's case, but hopefully some miracle happens, because this can't be the end of the road for his career.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=LeU_Z7ThICk">Oh U Went</a> (ft. Drake)</div><div>2. <a href="https://www.youtube.com/watch?v=6-X2k1-27JA">Uncle M</a></div><div>3. <a href="https://www.youtube.com/watch?v=aenvTA0YBL0">Mad Dog</a></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6np418o5FR4keCdYSBx1YEKGInQIcZGKKzx3RdpBVnsqqkqT8QUpt8pZDeAkAKI-zN70G20zilqnzej2lAUmsNHwj5VPHPYlAKbQ6ZEVov9PReDfGY7wiI64DLDpzgxacMdcBReXQMIg5ZGHqI1yoGsGg-7Z6xbJljeKpdhZ03mBfdJ8iH924XakBIsEU/s425/M83%20-%20Fantasy.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="425" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6np418o5FR4keCdYSBx1YEKGInQIcZGKKzx3RdpBVnsqqkqT8QUpt8pZDeAkAKI-zN70G20zilqnzej2lAUmsNHwj5VPHPYlAKbQ6ZEVov9PReDfGY7wiI64DLDpzgxacMdcBReXQMIg5ZGHqI1yoGsGg-7Z6xbJljeKpdhZ03mBfdJ8iH924XakBIsEU/w200-h200/M83%20-%20Fantasy.png" width="150" /></a></div>14. M83 - <i>Fantasy</i></b></div><div><div><i>Fantasy </i>is the ideal title for a musician who's always been concerned with evoking a dreamy nostalgia, and here we have another record of arms-towards-the-sky synth pop music. If Anthony Gonzalez's dopey French earnestness has been too much for you in the past, then you're unlikely to have your mind changed with this one. But if you're the kind of person who's excited by hearing that this album starts with a spacey instrumental followed by a track whose only lyrics are "Beyond adventure!" over a layer of huge, surging keyboards, then you're in for a treat. <i>Fantasy </i>is full of songs that are so maximal they feel like they're going to burst through the speakers, songs that reach a point that you think is the climax, only for them to soar higher. And just when you're about to get sick of the audio candy, it'll change the pace with a long, slow burn song like "Deceiver" or "Kool Nuit." This is an expertly sequenced journey, one that works best if you have the 66 minutes to carve out and listen to it in full.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=kyaO0zgBxa8">Earth to Sea</a></div><div>2. <a href="https://www.youtube.com/watch?v=COwo1n3W8Dk">Deceiver</a></div><div>3. <a href="https://www.youtube.com/watch?v=vmdwiWPrJNE">Fantasy</a></div></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICga92MpsdZteY3ccKjtMQ2SNSPB9YP84rpxdTumgLdiK0TTEmkyv1YMUu4Y6DpFDWtSSZshtMXWy78rN4RM3ZWVEUMhLTSJuINqqJdF6zkfSeaFfBsdyKv59EXQlLHubQk8P5_FXFZun7HC1sffayIkMgV10qbzO-tLk7u_L30GBnWa06DAjyt8MGBT0/s1000/Noname%20-%20Sundial.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICga92MpsdZteY3ccKjtMQ2SNSPB9YP84rpxdTumgLdiK0TTEmkyv1YMUu4Y6DpFDWtSSZshtMXWy78rN4RM3ZWVEUMhLTSJuINqqJdF6zkfSeaFfBsdyKv59EXQlLHubQk8P5_FXFZun7HC1sffayIkMgV10qbzO-tLk7u_L30GBnWa06DAjyt8MGBT0/w200-h200/Noname%20-%20Sundial.jpg" width="150" /></a></div>13. Noname - <i>Sundial</i></b></div><div style="text-align: left;"><div>Most publications are leaving this out of their Noname blurbs, but it feels insane not to mention it: There's a stain on <i>Sundial</i>, which is that "balloons" features a Jay Electronica verse that could be read as anti-Semitic at worst and full of tedious Brother Mouzone bars at best. And Noname's abdication of responsibility after the backlash to that verse was embarrassing, especially for someone whose persona is based around righteousness. It's a shame too, because otherwise "balloons" is the best song on the album, and <i>Sundial</i> is her best record yet. Her music has always been respectable and thoughtful, but her slam poetry flow dragged things down. With a more conventional cadence, and songs that are just 10% more straightforward, there's a world of difference made here. Over lush, jazzy songs she raps with purpose and a reflective worldview. There's always something new to uncover in the layers of these warm, challenging tracks. Let's just hope the next one leaves Jay Electronica off the feature list.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=d71qAwfHa0Q">balloons</a> (minus Jay Electronica's verse)</div><div>2. <a href="https://www.youtube.com/watch?v=UaL4Cbqan00">toxic</a></div><div>3. <a href="https://www.youtube.com/watch?v=ICfIv6fWhcU">hold me down</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhytw-XgBG2l4oleHsm_0p1IfPToqX4q5aZVTBXh_YggmYovnzfVOyw_HDLYu4il4X8eMtVrH_7JN_8-3XDJ4f2YgoeUF0ZkNgbI-ijgLY1tmfnqrgUZ16-3QGDXLNeV2ZeUs4xp06s_v5c-Y3O__iL2utypuns4YVb79chC-82N298cVZnaGVTSu5w37uq/s1200/Rome%20Streetz%20-%20Wasn't%20Built%20in%20a%20Day.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhytw-XgBG2l4oleHsm_0p1IfPToqX4q5aZVTBXh_YggmYovnzfVOyw_HDLYu4il4X8eMtVrH_7JN_8-3XDJ4f2YgoeUF0ZkNgbI-ijgLY1tmfnqrgUZ16-3QGDXLNeV2ZeUs4xp06s_v5c-Y3O__iL2utypuns4YVb79chC-82N298cVZnaGVTSu5w37uq/w200-h200/Rome%20Streetz%20-%20Wasn't%20Built%20in%20a%20Day.jpg" width="150" /></a></div>12. Rome Streetz & Big Ghost Ltd - <i>Wasn't Built in a Day</i></b></div><div style="text-align: left;">Rome Streetz is a rap classicist at heart. That's not just because he sounds alot like the deceased 90s legend, Big L. He's also signed to Griselda Records, home to the leading purveyors of 90s New York hip-hop revivalism and rapping over boom-bap beats with heavy record crackle. And if you listen to <i>Wasn't Built in a Day</i>, or last year's fantastic <i>Kiss the Ring</i>, or any of the albums and EPs Rome Streetz dropped before that, you'll hear someone who's really invested in the craft of rapping in a way many aren't in the current age of punch-ins and vibes-based rap music. His verses are dense, with a fusillade of rhymes in an unrelenting succession, and he puts considerable thought into how to build and pace 16s. If you allow yourself to release your inner oldhead, you'll find lots to enjoy in <i>Wasn't Built in a Day</i>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=kwN8a1NAuoE">Gem Drop</a></div><div>2. <a href="https://www.youtube.com/watch?v=uixsoqpNFe8">Majisty</a></div><div>3. <a href="https://www.youtube.com/watch?v=3p-_Lay_-Ec">8Balls</a></div><div><br /></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgCnBm5H8amxtzK660rw47es9rc_mZSXlM2y0uUIXoJegJJK2q3JHC17Mp9r__WsLmp0nM8npOK74HW5xGUYtYC6vmpLQ2YIjTWquO3GZrHdXKz5qFqddqlVxInFaSr1foOLTXyJogMzpGX973nPqq_jOl5EvFUagE-aWW-CnpDwlSWx42nWz0yMi62gAE/s788/Lana%20Del%20Rey%20-%20Did%20you%20know%20there's%20a%20tunnel%20under%20Ocean%20Blvd.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="788" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgCnBm5H8amxtzK660rw47es9rc_mZSXlM2y0uUIXoJegJJK2q3JHC17Mp9r__WsLmp0nM8npOK74HW5xGUYtYC6vmpLQ2YIjTWquO3GZrHdXKz5qFqddqlVxInFaSr1foOLTXyJogMzpGX973nPqq_jOl5EvFUagE-aWW-CnpDwlSWx42nWz0yMi62gAE/w200-h200/Lana%20Del%20Rey%20-%20Did%20you%20know%20there's%20a%20tunnel%20under%20Ocean%20Blvd.png" width="150" /></a></div><b>11. Lana Del Rey - <i>Did you know that there's a tunnel under Ocean Blvd</i></b><br /><div style="text-align: left;"><div>I owe Lana Del Rey an apology. It's not that I was unfamiliar with her game, it's just that I didn't appreciate it enough. I was actually on the train way back when "Video Games" first came out, but by the time her debut album <i>Born to Die</i> dropped I had kind of checked out, assuming I wasn't the target audience. And since <i>Norman Fucking Rockwell!</i> launched her into the upper echelon of vaunted modern songwriters, I've listened to her new releases, but always admired them more than I loved them. <i>Ocean Blvd</i> has completely blown me away. An excavation of her personal history, the album is obsessed with memory -- both what we have remembered and will remember -- as it details death, family trauma, and Lana's own mental health struggles -- all the beauty and pain that marks her lineage. While most of these confessions are told in downtempo piano ballads, Lana's melodic gifts hold your attention. Her melodies are so beautiful because they feel like she's guiding you by the hand every step of the way, wandering down unclear paths to surprise you when you arrive at something breathtaking. It's embarrassing to come to a conclusion that women who love astrology came to a long time ago, but Lana Del Rey rocks.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=WJlQ4jt5Fz4">Let the Light In</a> (feat. Father John Misty)</div><div>2. <a href="https://www.youtube.com/watch?v=ZlZXHV0uTpI">Paris, Texas</a></div><div>3. <a href="https://www.youtube.com/watch?v=92HmXTsTRQ8">Grandfather please stand on the shoulders of my father while he's deep-sea fishing</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIMJc2IuD7wjEVUB7xLZN8VbZulhBn1JbtgtAS16wlRZvd3eR_unzR4CoOgUQKs1sY4_Gd3s63-3tUChcSruT7WzOMy-Qgm8LrWAdsXKzQVeyoro340ARcAyAZof3blqA72HeCXzaYtvmH7UVkT8s4SBMD-5T55WCiPzYVHsaKzloC2PbpLNk1hv0XShLV/s640/Pinkpantheress%20-%20Heaven%20Knows.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIMJc2IuD7wjEVUB7xLZN8VbZulhBn1JbtgtAS16wlRZvd3eR_unzR4CoOgUQKs1sY4_Gd3s63-3tUChcSruT7WzOMy-Qgm8LrWAdsXKzQVeyoro340ARcAyAZof3blqA72HeCXzaYtvmH7UVkT8s4SBMD-5T55WCiPzYVHsaKzloC2PbpLNk1hv0XShLV/w200-h200/Pinkpantheress%20-%20Heaven%20Knows.jpg" width="150" /></a></div>10. Pinkpantheress - <i>Heaven knows</i></b></div><div style="text-align: left;"><div>Music that originally pops off on TikTok tends to be annoying and half-formed, but the UK's Pinkpantheress was one of bright spots of the earlier days of "TikTok artists." Her 2021 mixtape <i>to hell with it</i> felt fresh and invigorating, reviving genres like drum 'n bass and breakbeat and turning them into bite-sized pop songs full of nostalgia and longing. <i>Heaven knows</i> largely keeps things the same, it's just more polished and confident. The choruses hit harder and the grooves are deeper. And when she does add more ingredients to the formula, as she does on the danceable "The aisle," it works swimmingly. Even all of the guests fit in perfectly, never feeling like forced cash-ins, and she finds a genuine smash hit with the Ice Spice collaboration "Boy's a liar Pt. 2." Pinkpantheress has gone from a bedroom artist to a star -- complete with a song on the <i>Barbie</i> soundtrack -- in just three years, and her music has only gotten better in that span.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=tNo55rkg_7c">Another life</a> (feat. Rema)</div><div>2. <a href="https://www.youtube.com/watch?v=5XADIh_mJM4">The aisle</a></div><div>3. <a href="https://www.youtube.com/watch?v=048Ij760D3Y">Internet baby (interlude)</a></div></div><div style="text-align: left;"><div><br /></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAaYrxcI1oUdFuBCq-LB0T5bE3IOjBO0JTDsRm7ZL_ajeEJ4bdjcox6DemTdPBCna0vbr7xV1z92uNCOddjYSprsHgava9tv9wKrFHpdw9ObwQtRKMhed2aZLfuAOfg8S0myVNCeGspZTIFBpziKAyaCug_UIjJSYeEkfTCIiqF93TABRXb3CVMtjiBPUE/s1280/Boygenius%20-%20the%20record.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1280" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAaYrxcI1oUdFuBCq-LB0T5bE3IOjBO0JTDsRm7ZL_ajeEJ4bdjcox6DemTdPBCna0vbr7xV1z92uNCOddjYSprsHgava9tv9wKrFHpdw9ObwQtRKMhed2aZLfuAOfg8S0myVNCeGspZTIFBpziKAyaCug_UIjJSYeEkfTCIiqF93TABRXb3CVMtjiBPUE/w200-h200/Boygenius%20-%20the%20record.jpg" width="150" /></a></div>9. Boygenius - <i>the record</i></b></div><div style="text-align: left;">Alot has happened in the five years since Phoebe Bridgers, Lucy Dacus, and Julien Baker -- all acclaimed and well-liked singer-songwriters in their own right -- teamed up to record a six-song EP together. Since then, they've each amassed large cult followings as individuals, to the point that they're no longer just indie-popular. That 2018 EP was always too good to be considered a mere side-project, but even if it wasn't, the separate rising stars made it so it'd be unwise for them not to team up again. And so they did on <i>the record</i>, a full-length that fulfills the promise of the beauty and likability its predecessor only gave us a taste of. The trio show their range right in the first two tracks -- from the sparse harmonies of "Without You Without Them" to the rocking rhythm of "$20," the chemistry they exude off-record shines through in the music as well. There's a simplicity to these songs that make them more powerful. It's just rock-solid songwriting that cracks your emotions wide open, delivering gorgeous and down-the-middle indie rock music at a time where that seems to be in dwindling supply. Boygenius are so intensely beloved that you can start to trick yourself into thinking the hype isn't warranted. That is, until you spin <i>the record</i> again and realize it's just that good.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=rTcF-tZwlXI">Not Strong Enough</a></div><div>2. <a href="https://www.youtube.com/watch?v=-KWQ-g9ax1c">Satanist</a></div><div>3. <a href="https://www.youtube.com/watch?v=yJFaEfwu6J8">$20</a></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKO0C9u9nwxFZcUp9iyxJUmeJgn6TaiAa4s_4fIi0jeIZ1Mg0yHb4BuSXTvLpF-iTq7pdcqG0Nl3g50NpqLYNltyJg3OFS5uukxPqvDmrpYTuA9kDjXbWCuMVuWc2rQ3ugf2Erfj9b2do66Za9Pacb_PRntHTQW3q1DFgEz2Tc2UWq9r-L7RYW9qv_FhQ/s700/Yeule%20-%20Softscars.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKO0C9u9nwxFZcUp9iyxJUmeJgn6TaiAa4s_4fIi0jeIZ1Mg0yHb4BuSXTvLpF-iTq7pdcqG0Nl3g50NpqLYNltyJg3OFS5uukxPqvDmrpYTuA9kDjXbWCuMVuWc2rQ3ugf2Erfj9b2do66Za9Pacb_PRntHTQW3q1DFgEz2Tc2UWq9r-L7RYW9qv_FhQ/w200-h200/Yeule%20-%20Softscars.jpg" width="150" /></a></div>8. Yeule - <i>softscars</i></b></div><div><div>The original pitch of <i>softscars</i> that made me intrigued was a tweet describing it as "Grimes meets <i>Siamese Dream </i>by The Smashing Pumpkins." There's almost no point of even writing a blurb, because you can't explain the album better than that. After not connecting with a sampling of <i>Glitch Princess</i> last year, <i>softscars </i>was immediately engaging to me, presenting a disorienting roulette of tender melodies, gauzy guitar tones, and gut-scraping lyrics about transcending your corporeal self. It's a rollercoaster of juxtapositions: sweet and sour sounds, love and despair, pain and pleasure. On the title track, they sing, "You stabbed me right in the chest / And made me bleed, and made me wet." That's the thrilling tension Yeule provides all over the album in a nutshell.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=-mZjiikqhKg">bloodbunny</a></div><div>2. <a href="https://www.youtube.com/watch?v=rBjtDg2RmaQ">4ui12</a></div><div>3. <a href="https://www.youtube.com/watch?v=hhBKuQqRibU">dazies</a></div></div><div><br /></div><div><br /></div><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjktDEgqkGJazIqIvIU9bk8Z1iai_SM6MEuf0__ylQgb3W1GBUcX0XOog6rcrnEpUxdyXoMIxqYcwIjQVrC9hyphenhyphensOsfbnyHiYQHwsLmZ5bEnEg3Y88kS6bpcu1k-k-xiChF6YLMoYmylgQBdwy9RykZg-haqbdxKJViAt6QqdWkgUPqmTs_5DF7Fm09p4ASK/s1400/NewJeans%20-%20Get%20Up%20EP.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjktDEgqkGJazIqIvIU9bk8Z1iai_SM6MEuf0__ylQgb3W1GBUcX0XOog6rcrnEpUxdyXoMIxqYcwIjQVrC9hyphenhyphensOsfbnyHiYQHwsLmZ5bEnEg3Y88kS6bpcu1k-k-xiChF6YLMoYmylgQBdwy9RykZg-haqbdxKJViAt6QqdWkgUPqmTs_5DF7Fm09p4ASK/w200-h200/NewJeans%20-%20Get%20Up%20EP.jpg" width="150" /></a></div>7. NewJeans - <i>Get Up EP</i></b></div><div>I'm by no means speaking from any place of expertise, but I hadn't been able to vibe with any of the K-pop I had heard before. The popular groups that cross over here in America like BTS and Blackpink all feel too mechanical and overproduced, and I can't stand the shoehorned rap verses in the songs. When I first gave NewJeans a shot earlier this year, I was instantly hooked by what seemed to be the exact antidote to everything I didn't like about the K-pop I dabbled with. On <i>Get Up</i>, they play with sounds that are much less common, like UK Garage ("Cool With You," "NewJeans") and drum n' bass ("Super Shy"). And the production, while filled with sound, never feels overbearing. That chintzy horn sample on "ETA" is the perfect encapsulation of their musical ethos. The group makes catchy, musically savvy songs that are in and out in two and a half minutes, always leaving you wanting more. In fact, the most tantalizing song might be the R&B-inflected title track, which cruelly only lasts for 36 seconds. There could be more K-pop out there like NewJeans -- I genuinely don't know! But if there is, I definitely need to hear it.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=XCkpalH6Ppk">ETA</a></div><div>2. <a href="https://www.youtube.com/watch?v=SXM1q0CTfew">Get Up</a></div><div>3. <a href="https://www.youtube.com/watch?v=0c7zGU2C2mM">Super Shy</a></div></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWs4JyDIPM6S_s0zWgsb5279_j6zoTBeIS72GYlo2WHstY8XJCh-RH5wnO-yEdHOsO-8Rn-gWX-OUMd40QQKzQIpKnzP5ooX2mXOnfqQYMO9bpgA70xyNrcNJFWYNdqjf4_d6CmnhRhJo_lKF-DkwoAV4c8CLCrRkBSZDPyiDdCzp98dtfayG5bc9SPl4c/s870/Bully%20-%20Lucky%20For%20You.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="870" data-original-width="870" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWs4JyDIPM6S_s0zWgsb5279_j6zoTBeIS72GYlo2WHstY8XJCh-RH5wnO-yEdHOsO-8Rn-gWX-OUMd40QQKzQIpKnzP5ooX2mXOnfqQYMO9bpgA70xyNrcNJFWYNdqjf4_d6CmnhRhJo_lKF-DkwoAV4c8CLCrRkBSZDPyiDdCzp98dtfayG5bc9SPl4c/w200-h200/Bully%20-%20Lucky%20For%20You.jpg" width="150" /></a></div>6. Bully - <i>Lucky For You</i></b></div><div style="text-align: left;">I loved Bully's debut album from 2015, which was one of the best and most authentic versions of the wave of 90s inspired alt-rock that seemed endless around that time. After that, the next two releases bounced off of me. They weren't bad, but aside from a couple of songs, they never really had the staying power that first one did. <i>Lucky For You</i> fully won me back over with its ability to turn turbulent, grief-tinted emotions into hooky, heartfelt rock music. Starting off with commemorating Alicia Bognanno's sobriety on "All I Do," the album only gets heavier from there, shifting to its main focus -- the death her dog Mezzi, who she had for 13 years. Bognanno often described Mezzi as her best friend, and she writes about that loss in tactile, raw terms on songs like "Days Move Slow," "A Wonderful Life," and "A Love Profound." But despite the subject matter, the sound of the LP is surging and adventurous. Bognanno's history as an engineer has always made the band's songs sound crisp, but this is the biggest, most free collection yet. It features abrasive experimentation and spoken-word verses, but also the most massive hooks of her career. If you had the same previous trajectory with Bully that I did, <i>Lucky For You </i>makes a strong case for hopping back on the train. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=RF3KXQys5ng">A Wonderful Life</a></div><div>2. <a href="https://www.youtube.com/watch?v=I9IsIRiLz2M">All I Do</a></div><div>3. <a href="https://www.youtube.com/watch?v=aHXjLZqAfQs">Change Your Mind</a></div></div>
<div style="text-align: left;"> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUQI_jEICUIs3ls7KC3nvOyOSaXnG-18kSHgGRtoD0yeC5mrNSy35NWfR_NQrqrK0_hyphenhyphenm_dkvDOGV_MbPshAzkGfD3LPRbpaPBN6ljlrCEYHZBbQKSxbltwCy1BZ3lRgKx57IuPcR5lPCdsC_AV-vOgtKA5R473ewHjSGDF_TmLqgc6xjmP4GyMQuGLCI/s1280/Feeble%20Little%20Horse%20-%20Girl%20With%20Fish.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1280" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUQI_jEICUIs3ls7KC3nvOyOSaXnG-18kSHgGRtoD0yeC5mrNSy35NWfR_NQrqrK0_hyphenhyphenm_dkvDOGV_MbPshAzkGfD3LPRbpaPBN6ljlrCEYHZBbQKSxbltwCy1BZ3lRgKx57IuPcR5lPCdsC_AV-vOgtKA5R473ewHjSGDF_TmLqgc6xjmP4GyMQuGLCI/w200-h200/Feeble%20Little%20Horse%20-%20Girl%20With%20Fish.jpg" width="150" /></a></div>5. feeble little horse - <i>Girl with Fish</i></b></div><div style="text-align: left;"><div>When they were still gathering buzz as a DIY band, the members of Pittsburgh's Feeble Little Horse mentioned that they didn't want being in a band to be a full-time thing or their primary source of income. Maybe that accounts for the palpable freedom in their music. <i>Girl with Fish</i> is an album full of thrilling choices, starting with the crazy guitar tones all over it. Sometimes they don't even sound like guitars. And the range of them, too -- they can veer from the noisiest squall you've ever heard to the prettiest little lick, sometimes within the same song. That careening feels like it's altering your brain chemistry. This is a strange album, but it also possesses a strange beauty. There's nothing I've heard this year that's as affecting as the delivery of the line, "Did I make it worse, trying to sympathize?" on "Slide." Meanwhile, "Paces" has a quality to its melody and instrumentation that evokes an odd mixture of soothing and melancholy. Feeble Little Horse announced they were going on an indefinite hiatus shortly after the album's release, but thankfully <i>Girl with Fish </i>is strong enough to hold us over until whenever they decide to come back.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=TcckkB9S8g8">Slide</a></div><div>2. <a href="https://www.youtube.com/watch?v=qe81BlMYh5U">Paces</a></div><div>3. <a href="https://www.youtube.com/watch?v=7N-rOK8hTYs">Tin Man</a></div><div><br /></div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwQAMMsnK3X4v6QOBRz4U2pcuF0PyfyAZSgIMqtsi43ZVfeEfP_qZjNVApWb3G-L18pIB8ZvUho1ZBOgHs-TxX_ywGttdBiYDL-a-FSNs43q-dHe0I_m6UwjQG5MM9t9mldw-efHbdEYacEOtXXoYRYvatyOjKOCuecA0QyRREOLKwy5tyIwmW4qHMd0rB/s3000/JPEGMAFIA%20x%20Danny%20Brown%20-%20Scaring%20the%20Hoes.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwQAMMsnK3X4v6QOBRz4U2pcuF0PyfyAZSgIMqtsi43ZVfeEfP_qZjNVApWb3G-L18pIB8ZvUho1ZBOgHs-TxX_ywGttdBiYDL-a-FSNs43q-dHe0I_m6UwjQG5MM9t9mldw-efHbdEYacEOtXXoYRYvatyOjKOCuecA0QyRREOLKwy5tyIwmW4qHMd0rB/w200-h200/JPEGMAFIA%20x%20Danny%20Brown%20-%20Scaring%20the%20Hoes.jpg" width="150" /></a></div>4. JPEGMAFIA x Danny Brown - <i>Scaring the Hoes</i></b></div><div><div>Though Danny Brown and JPEGMAFIA aren't two rappers you'd immediately think to pair up out of the blue, they make sense together pretty quickly once the idea is put into your head. Both are say-anything stylists, with lyrical instincts as wild as their beat selections. Their album as a duo finds them planted firmly in their comfort zone when it comes to their subject matter -- Peggy littering lines with left-field references ("you get hit, you gon' sing like Bilal") and Brown delivering his hedonistic bars -- but it's so fun to hear their styles blend over the former's idiosyncratic production. JPEGMAFIA constrained himself to only using an old Roland sampler to make the beats on the album, which make the songs sound like they're blasting from blown speakers. The effect is a record that feels like listening to a leak that you're not supposed to be hearing yet, but it's all the more exciting because of its verboten nature. Over and over, <i>Scaring the Hoes </i>finds brilliance in limitations and beauty in collaboration.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=nZwTBSrnkGQ">God Loves You</a></div><div>2. <a href="https://www.youtube.com/watch?v=uLm9lOZIlxU">Shut Yo Bitch Ass Up/Muddy Waters</a></div><div>3. <a href="https://www.youtube.com/watch?v=75SP4CKdEEg">Kingdom Hearts Key</a> (feat. Redveil)</div></div><div><br /></div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tI8a6uFEqPKy5c4NW1RHumDLV0KupFCVMc54xOKPrz2JcJAmi55_8ou0AxreGu4eLzA06KEbCPI5_YSv-eVK-qEaMdGs3b6fqJClOVtIxdyHZ2PV2CqMMJvnVvc3BVoxBe111896iZdR8YBuGIBq3tcnVM6HXl9fsBAkqcoM3W4FbJqpBLESx8GOIrU7/s300/Sufjan%20Stevens%20-%20Javelin.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tI8a6uFEqPKy5c4NW1RHumDLV0KupFCVMc54xOKPrz2JcJAmi55_8ou0AxreGu4eLzA06KEbCPI5_YSv-eVK-qEaMdGs3b6fqJClOVtIxdyHZ2PV2CqMMJvnVvc3BVoxBe111896iZdR8YBuGIBq3tcnVM6HXl9fsBAkqcoM3W4FbJqpBLESx8GOIrU7/w200-h200/Sufjan%20Stevens%20-%20Javelin.png" width="150" /></a></div>3. Sufjan Stevens - <i>Javelin</i></b></div><div><div>And so the cycle continues. That is, the pattern of Sufjan Stevens releasing a clanging, challenging album that alienates a portion of his fans followed by putting out a delicate, gorgeous record that wins people back over. Real ones know that 2020's <i>The Ascension</i> was terrific in its own right, but <i>Javelin</i> finds even greater success in returning to traditional Sufjan mode. The ornate arrangements, the angelic chorus of background vocals, the emotional swells in his music -- they're all back in full force here. And in working in that comfort zone, he delivers a few songs, most notably "So You Are Tired," that stand up there with the best work of his career. This album came with <a href="https://sufjan.com/post/730446434104754176/sufjan-stevens-javelin">an announcement</a> where Stevens publicly came out as gay and dedicated the record to his partner who passed away this past April. In that light, it's amazing he was able to gift us something so beautiful amidst that much pain.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=CjHG25QwYeg">So You Are Tired</a></div><div>2. <a href="https://www.youtube.com/watch?v=7nU7IZKtmDE">Everything That Rises</a></div><div>3. <a href="https://www.youtube.com/watch?v=GoFJbrNkyBw">A Running Start</a></div></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1noy36jyoMqdrE77-PZTqU21T-Xm3oHOWjAeH-mZyLEw5h0sdOmPOMkrpzHkkUyCzFz7xaqhT9mGhgtdRf0Gr94aKiaYLx6CHaOJTZIhAcOvHHlkB61a_1Z9cC6QZ85VtH1QSZ83MHprfLQGyES1wwWJZgZ7RIT5aoiVRaaEMeMETxl1FRiGpjlCuxod4/s300/Ratboys%20-%20The%20Window.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1noy36jyoMqdrE77-PZTqU21T-Xm3oHOWjAeH-mZyLEw5h0sdOmPOMkrpzHkkUyCzFz7xaqhT9mGhgtdRf0Gr94aKiaYLx6CHaOJTZIhAcOvHHlkB61a_1Z9cC6QZ85VtH1QSZ83MHprfLQGyES1wwWJZgZ7RIT5aoiVRaaEMeMETxl1FRiGpjlCuxod4/w200-h200/Ratboys%20-%20The%20Window.png" width="150" /></a></div>2. Ratboys - <i>The Window</i></b></div><div style="text-align: left;">Faced with the difficult task of following their "level up" album, Ratboys recruited super-producer Chris Walla for <i>The Window</i>, the perfect move to make in their position. "Morning Zoo" may have that alt-country twang that was present in their earlier work, but with Walla on the boards, it's got that polished finish to make it pop. Likewise, the fuzz rock of "Crossed That Line" would be at home on <i>Printer's Devil</i>, except for the fact that it's much punchier thanks to the production. For an example of the band's steady growth, look no further than the expansive, "Black Earth, WI," which features a gorgeous guitar solo that lasts four minutes. Julia Steiner also continues to be one of indie rock's most captivating lead singers. The combination of her soft voice and gently searching lyrics is sublime. The album's most attention-grabbing song in that regard is the title track, written from the perspective of Steiner's grandfather, whose wife died during the height of COVID, and had to say goodbye to her through the window of her hospital room due to safety restrictions. But even more simple personal subject matter like "I Want You (Fall 2010)," which chronicles her relationship with bandmate and college sweetheart Dave Sagan, manages to tug at the heartstrings. That ability to provide cozy comfort while also being highly emotional is what makes Ratboys and <i>The Window </i>so special.</div><div style="text-align: left;"><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=P1w6sCmetrk">I Want You (Fall 2010)</a></div><div>2. <a href="https://www.youtube.com/watch?v=zkvEd4lshUI">It's Alive!</a></div><div>3. <a href="https://www.youtube.com/watch?v=xvi9ozInUHY">Empty</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPR2nLrc_Cm06bsCc-7l7-mpssJMpiVCXmuVmWfP2FLLqsrI8Uf6OGfva_ZxwxznmTxuBade_HMGSN31kR1VgeBRPcSjRuThPJ3Uzk43xKwLUp72TMJVnV6BIsTuQTgQ9VoEYvb4pbh4nwGz3Ii2K6TEG3kqicIPLw8ryTMzGMv98Ho2XFrmfnQm7oB1mj/s640/Jessie%20Ware%20-%20That!%20Feels%20Good!.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPR2nLrc_Cm06bsCc-7l7-mpssJMpiVCXmuVmWfP2FLLqsrI8Uf6OGfva_ZxwxznmTxuBade_HMGSN31kR1VgeBRPcSjRuThPJ3Uzk43xKwLUp72TMJVnV6BIsTuQTgQ9VoEYvb4pbh4nwGz3Ii2K6TEG3kqicIPLw8ryTMzGMv98Ho2XFrmfnQm7oB1mj/w200-h200/Jessie%20Ware%20-%20That!%20Feels%20Good!.jpg" width="150" /></a></div>1. Jessie Ware - <i>That! Feels Good!</i></b></div><div style="text-align: left;"><div>After years of making excellently sultry adult contemporary music, Jessie Ware took a left turn into dance pop with 2020's surprising and delightful <i>What's Your Pleasure? </i>But it turns out even that was apparently tasteful and refined for her, as she's fully let her hair down with this year's <i>That! Feels Good!</i> Her latest record is an absolute party, offering a guided tour through decades of dance music like disco ("Pearls"), deep house ("Free Yourself"), French house ("Freak Me Now"), and more. An album so backwards-looking could feel like cheap imitation, but there's an electric passion running through the writing and production of these songs that make them sound authentic. The cinematic, string-laden sweep of "Hello Love" isn't just pastiche -- it sounds like it could genuinely be a lost Donny Hathaway song with female vocals. There's even a campy flair to songs like the title track, "Beautiful People," and "Shake the Bottle" that's true to a genre that's always had Black and queer people at the vanguard. No matter how you shake it, <i>That! Feels Good!</i>, like <i>What's Your Pleasure?</i> before it, is a pure joy, one that's the byproduct of an artist thrillingly coming into her own.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=fKTssZrqTGk">Hello Love</a></div><div>2. <a href="https://www.youtube.com/watch?v=RT6eM4FoRmc">Freak Me Now</a></div><div>3. <a href="https://www.youtube.com/watch?v=B9XQJjMfkGU">Beautiful People</a></div><div><br /></div><div><br /></div><div>Well, that wraps things up for my best albums of 2023 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! Most of the highlight songs contain YouTube links if you want to listen to them, but I've also created a Spotify playlist if that's your preferred method. You can find it below. And if you want a complete ranking of all the albums that were in consideration for this list, along with some other data you might find interesting, you can find them on <a href="https://docs.google.com/document/d/19sOBV_3y9hikw3jKGur7T_SjqZTjArAUjmY3hHrq8Hc/edit?usp=sharing">this Google Doc</a>.</div>
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<div><div><b><br /></b></div><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2022/12/my-20-favorite-albums-of-2022.html">2022</a></div><div><a href="https://yeahthatantonio.blogspot.com/2021/11/my-20-favorite-albums-of-2021.html">2021</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-albums-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-albums-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-albums-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-albums-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-albums-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-albums-of-2013.html">2013</a></div></div></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com4tag:blogger.com,1999:blog-2395748504986705619.post-87336274209588180082023-12-25T00:01:00.021-05:002023-12-25T00:06:09.229-05:00100 Songs I Liked In 2023<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHn__GKSvnqscX3RKQEv_Ba8GHwbAgFycannekjx8kzzDq2l4XCUVzSC7GZkPTX7bZhYh8mr7Qz2fm_zJJL4RfAhiP7Mb2EtFYWAexiMHGbS32A4VnRZV1l8yKRs8XNxi5Nrc8GqwdRZa1Es2sm_YxkLO7EDfOKMnJmZsYWr6v0NvRk1B73Kankgi3e9xC/s700/Best%20songs%20picture.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="490" data-original-width="700" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHn__GKSvnqscX3RKQEv_Ba8GHwbAgFycannekjx8kzzDq2l4XCUVzSC7GZkPTX7bZhYh8mr7Qz2fm_zJJL4RfAhiP7Mb2EtFYWAexiMHGbS32A4VnRZV1l8yKRs8XNxi5Nrc8GqwdRZa1Es2sm_YxkLO7EDfOKMnJmZsYWr6v0NvRk1B73Kankgi3e9xC/w400-h280/Best%20songs%20picture.jpg" width="500" /></a></div><div style="text-align: left;"> </div><div style="text-align: left;">As always, my official end of the year lists will start on December 29th with my 20 favorite albums of 2023. But there's so much great music out there that my album post could never cover all of the things I enjoyed over the past 12 months. So this list is an additional rundown, one that highlights songs from albums that won't be appearing on the top 20 in a few days. I'm including songs from my five honorable mention albums, so if you see something on here from an album you love, who knows, maybe that album is ranked somewhere between 21 and 25 for me. And this year I'm running so late that I actually haven't finalized my top 20, so there could be a song from an album that sneaks into that list at the last minute. I've been going with 100 songs for this list for that past few years, but this time I really had to stretch and find some tracks to stretch to those last few slots. Hopefully you enjoy these picks and find some new music to get into!</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;">Here's a Spotify playlist with all of these songs in one place.</div><div style="text-align: left;">
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</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /><b>100 gecs - "The Most Wanted Person in the United States"</b></div><div style="text-align: left;">100 gecs popularized an entire genre with their debut album, so the mountain of expectation that came with their follow-up was to be expected, and the feeling of disappointment many felt was perhaps even more so. But when taken in outside of all of that baggage, <i>10000 gecs</i> is a pretty good record. "The Most Wanted Person..." is one of the many examples of them bringing new elements to their hyperpop sound. It's got an air of <i>Odelay</i>-era Beck and slacker-alt to it, and I just find its wacky grab bag of sounds and loping flow totally infectious.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Albert Hammond Jr. - "Memo of Hate"</b></div><div style="text-align: left;">I don't always show up for the various side projects and solo outings that the boys in The Strokes put out when they're not making mainline records, but sometimes there's a premium grade banger that catches my notice. Such is the case with "Memo of Hate" from Strokes rhythm guitarist Albert Hammond Jr.'s latest solo album. It's a song that would be right at home on actual Strokes record: the chugging rhythm, the lackadaisical cool, the double helix guitar interplay, that pace-shifting solo. Excellent work from one of the best guitarists ever (despite what Rolling Stone <a href="https://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/">recently had to say</a>).</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Alchemist - "RIP Tracy" (feat. Billy Woods and Earl Sweatshirt)</b></div><div style="text-align: left;">Alchemist has a knack for bringing out the best of low-key, unhurried rappers like Billy Woods and Earl Sweatshirt, and he definitely does here on "RIP Tracy." Sweatshirt gets his usual off-kilter line constructions off: "Uneasy steps, deep in it like needle in flesh / In the center, couldn't see the end / Indecision, leave the pieces split." Billy Woods delivers sly humor ("All that sound and fury, it reads like pantomime / But what do I know? I'm just a regular guy / Putting designer jeans on one leg at a time"), withering put downs ("Your hot song was a couple funny lines I would've summarized"), and an outlook on the state of things so grim you have to laugh ("3D printer will get you everything but the laser sight").</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Amaarae - "Counterfeit"</b></div><div style="text-align: left;">I'm a simple man. If I hear a song that samples the beat to Clipse's "Wamp Wamp (What It Do)," especially that monumental drum loop, I hit the repeat button.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Armand Hammer - "The Gods Must Be Crazy"</b></div><div style="text-align: left;">I like Armand Hammer albums, but sometimes when Billy Woods and Elucid get together, they get mired in being too cerebral. That's why El-P providing them with a beat that has some real groove is the perfect shock to the system in the middle of <i>We Buy Diabetic Test Strips</i>.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>bar italia - "harpee"</b></div><div style="text-align: left;">Detractors of cult band bar italia ridicule their detached coolness, but the thing is, it doesn't feel like a put-on. They seem like people who just walked out of a French New Wave film and found themselves in the present day. And because of that, there's an authentic cool that exudes off of their album <i>Tracey Denim</i>. That guitar tone! Those disaffected vocals! The general vibe of malaise! I tend to recoil at this kind of thing, but I can't deny a genuinely rad band when I hear one.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Beach House - "Devil's Pool"</b></div><div style="text-align: left;">Everything Beach House touches is gold, but I'd be lying if I said I didn't miss when they made more lo-fi music that sounded like overhearing somebody playing it through a wall. Their <i>Become</i> EP proved to be suitable ground to return back to that style, as they do in beautiful fashion for one song on "Devil's Pool." It really feels like something that got left off of their self-titled debut or <i>Devotion</i>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Belle & Sebastian - "When the Cynics Stare Back From the Wall" (feat. Tracyanne Campbell)</b></div><div style="text-align: left;">I didn't return back to <i>Late Developers</i> as much as I did with last year's <i>A Bit of Previous</i>, but it's still amazing how rock-solid Belle & Sebastian's output is almost 30 years in. They've evolved gracefully, but there's nothing like that classic B&S sound, which "When the Cynics..." recalls. Add Tracyanne Campbell of Camera Obscura fame onto it and you have indie pop perfection.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Benny the Butcher - "Big Dog" (feat. Lil Wayne)</b></div><div style="text-align: left;">Don't worry about Benny the Butcher's weak hook. Just sit back and listen to Lil Wayne destroy his verse.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Beths - "Watching the Credits"</b></div><div style="text-align: left;">The fact that The Beths can drop a heater like this as a loosie instead of saving it for an album is how you know they have hooks for days.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Big Head - "i get along too good"</b></div><div style="text-align: left;">Big Head is one of those bands I heard about from a few very enthusiastic Twitter users stumping for the record. They throw everything but the kitchen sink at you -- "i get along too good" is a twangy rock song, but the next minute they can blast something completely different at you. It seems like we don't get enough of these kind of weird, adventurous bands anymore.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Billy Woods - "FaceTime" (feat. Hemlock Ernst)</b></div><div style="text-align: left;">Billy Woods is one of the most beloved rap artists working outside of the mainstream right now, but he's not exactly accessible. Part of the reason why his Kenny Segal-collaboration <i>Maps</i> blew up even more than his other work is because it's just a little more approachable, without sacrificing what makes him great. "FaceTime" finds a way to make a somber travelogue linger in your mind, thanks to Segal's warm production, Woods' typically absorbing imagery, and a terrific hook from Hemlock Ernst.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Blondshell - "Joiner"</b></div><div style="text-align: left;">I think Blondshell is a nepo baby or an industry plant or something like that, but I don't really care because "Joiner" is a catchy song with a great hook.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Boldy James - "Trust Issues"</b></div><div style="text-align: left;">2023 was a light year for the prolific Boldy James, which means he still put out two releases. That slowdown was mostly due to him getting into a car accident that left him in critical condition and unable to walk for weeks. 2024 is already looking like a comeback year for him, as he's already got a release slated for January. Until then, enjoy "Trust Issues" from <i>Prisoner of Circumstance</i>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Career Woman - "Lady" </b></div><div style="text-align: left;"><i>Grapevine</i>, the latest EP from Career Woman, reminds me of a shaggier version of Beach Bunny. Opener "Lady" is my favorite of the five-song collection -- it's just straightforward, catchy guitar pop with a killer melody. I wouldn't mind seeing her have a Beach Bunny-esque leap in popularity.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Carly Rae Jepsen - "Shadow"</b></div><div style="text-align: left;">Last year on this list, I extolled the virtues of the few and far between times Carly Rae Jepsen has sung over Rostam Batmanglij production, and I'm here to do it again. She just finds something deeper and more emotional when she works with him. The wistful yearning when she sings "And in no time, I'll be coming to you / I'll be flying to you.." under the chorus?! Exquisite. Just make a whole album together already!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Caroline Polachek - "Welcome to My Island"</b></div><div style="text-align: left;">I also love "Blood Butter" off of this album, but I chose to highlight the opening track, which seems like a perfect mission statement. The soaring falsetto vocals that start the song, the melodic acrobatics in the chorus, the off-kilter almost rapping verse towards the end -- it's the Caroline Polachek experience in a nutshell.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Chase Fetti - "One More Sale" (ft. Boldy James and Rome Streetz)</b></div><div style="text-align: left;">Boldy James and Rome Streetz on the same track? Thank you, Mr. Chase Fetti. I'm shocked this hook wasn't just something that was plucked from a 90s song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Chloe - "Pray It Away"</b></div><div style="text-align: left;">Her sister may have lapped her by being in <i>The Little Mermaid </i>and <i>The Color Purple</i> this year, but Chloe Bailey put out some great songs in 2023. The gospel background vocals on "Pray It Away" are a great touch, and add to the immensity of the song's sound. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Clientele - "Blue Over Blue"</b></div><div style="text-align: left;">Back when I was getting into indie music as a middle schooler, I remember The Clientele were a big deal. Or, at least I thought so because they always got good Pitchfork reviews. I never listened to them much, but based on my listen to their new album, I've been missing out. "Blue Over Blue" is a wistful, delicate, lightly psychedelic indie pop song that will always be welcomed by me. There's something very timeless that I get from this tune every time I listen to it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Conway the Machine - "Stab Out" (feat. Ransom)</b></div><div style="text-align: left;">When Conway gets his teeth into a rhyme scheme like he does in his verse on here, there are few things as enjoyable.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Danny Brown - "Celibate" (feat. MIKE)</b></div><div style="text-align: left;">There's no way around it: I was not a fan of Danny Brown's <i>Quaranta</i>, which sounded listless and had some fairly unimpressive rapping. "Celibate" is not too bad though, thanks to a glassy-eyed beat and a rousing verse from MIKE.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Diners - "Domino"</b></div><div style="text-align: left;">Power pop seems to be on a big comeback tour, and Diners are a part of the Mo Troper-verse that's the vanguard of that movement. I haven't had too much time to fully dig into their album from a few months ago, but I really love the bite-sized nugget of sunshine that is "Domino."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Disclosure - "Talk on the Phone"</b></div><div style="text-align: left;">It seems unlikely that Disclosure are ever going to recapture the lightning in a bottle they had with <i>Settle</i>, but in the meantime they've been producing some fantastic music anyway. <i>Alchemy-</i>closer "Talk on the Phone" is a big tune, blending their usual UK Garage with some vocoder and jamming out for three and a half minutes.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Doja Cat - "Agora Hills"</b></div><div style="text-align: left;">I don't really listen to Doja Cat outside of her big hits, but somebody mentioned that on "Agora Hills" she raps like Kilo Kish, who I also don't listen to that much, but I always liked her voice and rapping style when I did. This is a long and convoluted way of saying "Agora Hills" is a cool song. Love that affectation Doja puts on in that first verse.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Dua Lipa - "Dance the Night"</b></div><div style="text-align: left;">Back when <i>Future Nostalgia</i> came out and I put one of those songs on this list, I kind of negged Dua Lipa for making music that's catchy but doesn't have alot of personality. I still stand by that statement. But boy is "Dance the Night" sure catchy as hell anyway.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Earl Sweatshirt - "Sirius Blac"</b></div><div style="text-align: left;">It's rare that Earl Sweatshirt raps at pace faster than a crawl these days, so it's always cause for celebration when a song like "Sirius Blac" comes around. Even though it was wack that <i>Voir Dire</i> came out as an NFT at first, Alchemist and Earl Sweatshirt sound right at home collaborating together.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Empty Country - "Dustine"</b></div><div style="text-align: left;">Cymbals Eat Guitars was such a wonderful band (despite the name) and I was excited when Joseph D'Agostino started his Empty Country project after they broke up, but I couldn't really get into the singer-songwriter vibe of the first album from a few years ago. <i>Empty Country II </i>brings him closer to the Cymbals Eat Guitars sound and I dug it much more because of that. "Dustine" is a sprawling six-minute number that eventually erupts, but the buildup of atmosphere, with guitars that sound like a faraway memory, is just as captivating.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Equipment - "LO/FO"</b></div><div style="text-align: left;">It stands for "log out, fuck off," which makes me picture Brian Cox as Logan Roy from <i>Succession</i> saying it, and that tickles me. Good song too.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Felicita - "Spalarking"</b></div><div style="text-align: left;">This song sounds like a nightmare. Like having a melted synth jacked right into your skull.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Fiddlehead - "The Woes"</b></div><div style="text-align: left;">My other Fiddlehead choice was "Sullenboy," which makes me think of an EA Sports video game soundtrack from the 2000s, but I couldn't deny that main riff from "The Woes" that carves right through the song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Fireworks - "Megachurch"</b></div><div style="text-align: left;">"Megachurch" does the best at capturing the emo-meets-Arcade Fire vibe that lovers of the latest Fireworks album <i>Higher Lonely Power</i> pitch it as. I don't think all of the album gets there, but it feels good to hear something with this specific strain of fiery bombast again.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Frankie Cosmos - "hey whatsup"</b></div><div style="text-align: left;">There's a special quality to Greta Kline's sound and voice that evokes so many emotions in me. "hey whatsup" is a track off of the new deluxe version of last year's <i>Inner World Peace</i>, and it's short and simple, but in those 90 seconds Kline is able to deliver a mountain of melancholy with her delicate falsetto and cozy melody.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Fucked Up - "Huge New Her"</b></div><div style="text-align: left;">I've never been able to get into a Fucked Up record since their epic <i>David Comes to Life</i> back in 2011, but <i>One Day</i> is the one I've enjoyed the most by far. And how could I not with songs like "Huge New Her" delivering a massive, driving sound to power Damian Abraham's guttural vocals forward.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Gracie Abrams - "I know it won't work"</b></div><div style="text-align: left;">On my list of most hated nepotism babies, Gracie Abrams used to be near the top. Every time I thought about the daughter of J.J. Abrams making knockoff Phoebe Bridgers songs with that quivering voice of hers, I got irrationally angry. Then I saw her open at The Eras Tour and perform "I know it won't work," and I gained a slight appreciation for her music. I'll still make fun of her, don't get me wrong.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Guitar Fight From Fooly Cooly - "Wooden Cross"</b></div><div style="text-align: left;">Nobody does a nasty guitar breakdown like Guitar Fight From Fooly Cooly, and "Wooden Cross" is constructed out of almost nothing but nasty guitar breakdowns. It's one of the best songs this unpredictable band has ever done.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>The Hold Steady - "Carlos is Crying"</b></div><div style="text-align: left;">You could tell this list was made by somebody who started growing pubes in the 2000s because it's still got bands like The Hold Steady, Belle & Sebastian, The National, and The New Pornographers on it. Somebody has to keep that era alive! <i>The Price of Progress</i> is another album from The Hold Steady that shows a renewed verve. "Carlos is Crying" is vintage stuff: bar rock with terrific storytelling and a deep sadness to it.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Home is Where - "Daytona 500"</b></div><div style="text-align: left;">When Home is Where's <i>the whaler</i> first came out, I saw it as a bit of a letdown after loving <i>I Became Birds</i>, but in returning to it for these lists, I can't understand why I felt that way all year. Maybe it's because it doesn't have any flat-out masterpieces like "Assisted Harakiri" and "Long Distance Conjoined Twins," but "Daytona 500" is pretty great in its own right. Only this band could transition from "Animal control came to collect / Last night's roadkill from the roadside / Where fathers of drunk drivers plant a cross / For their loss when the wreck is hauled off" to "I saw Dale Earnhardt / Pushin' a shopping cart / From the Wal-Mart / On the tracks of Daytona speedway."</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Hot Mulligan - "It's a Family Movie She Hates Her Dad"</b></div><div style="text-align: left;">Great emo title aside, Hot Mulligan bring the energy on the whirlwind "It's a Family Movie She Hates Her Dad." There's nothing better than when a guy with a whiny voice is singing the main parts, and then a guy with an even whinier voice comes in to help him out.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Hotline TNT - "I Thought You'd Change"</b></div><div style="text-align: left;">In 2024, I'm going to try to listen to Hotline TNT's <i>Cartwheel</i> some more, because it's an album that I desperately want to love for some reason. I tend to get bored with shoegaze music pretty quickly, so while I like this record, it kind of starts to blend into a wall of guitars after a while. "I Thought You'd Change" is my favorite from the album because it's got a more poppy, hooky edge.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>IAN SWEET - "Emergency Contact"</b></div><div style="text-align: left;">One of the great tragedies of this year is that I didn't carve out space to really get into the latest IAN SWEET album, because my last minute cursory listen was a lovely experience. I've finally gotten over wanting her to go back to the queasy anxiety-rock of <i>Shapeshifter</i> and learned to fully appreciate her new mode of dreamy anxiety-pop.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Ice Spice - "Princess Diana"</b></div><div style="text-align: left;">Ice Spice's whole thing might get old pretty soon, so let's enjoy it while we can. What I like about "Princess Diana" is that it eschews the New York drill format of looping a pitch-shifted, obvious sample and instead keeps things simple with a beat that's just booming bass and a spy guitar riff.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>IDK - "Thug Tear" (feat. Fat Trel)</b></div><div style="text-align: left;">If Chance the Rapper's going to stay away from dropping another album because he's still embarrassed from the reception that <i>The Big Day</i> got, then at least we've got somebody else still doing this kind of soulful, sunny rap music. (Also <i>The Big Day </i>was good!)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Indigo De Souza - "The Water"</b></div><div style="text-align: left;">Indigo De Souza came out of nowhere and blew me away with <i>Any Shape You Take</i> in 2021, so her follow-up album being merely solid was a major letdown for me. I did come back to "The Water" alot though. It's a very cool blend of the singer-songwriter guitar rock of this generation with splashes of mid-2000s indie music.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Janelle Monae - "Only Have Eyes 42"</b></div><div style="text-align: left;"><i>The Age of Pleasure</i>'s consensus standing as a minor album for Janelle Monae was a bit surprising to me this year. This album's a blast, the perfect summer beach album. "Only Have Eyes 42" arrives near the end of the tracklist like a lovely little comedown from a day laying out in the sun.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Japanese House - "Touching Yourself"</b></div><div style="text-align: left;">The Japanese House makes the kind of clothing store soundtrack indie pop that I'd usually find toothless and grating, but I always enjoy myself whenever I hear one of her songs. "Touching Yourself" is a total banger.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Jason Isbell & The 400 Unit - "Middle of the Morning"</b></div><div style="text-align: left;">I mostly know Jason Isbell as the guy people retweet alot and who makes music that NPR dads love. Unfortunately, the dads are right on "Middle of the Morning," a gorgeous country song written in and about lockdown.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Joanna Sternberg - "People Are Toys to You"</b></div><div style="text-align: left;">Joanna Sternberg's music on <i>I've Got Me</i> sounds alot like <i>Milk-Eyed Mender </i>era Joanna Newsom, which is something you don't hear much. But behind that quirky voice and jaunty music on "People Are Toys to You" lies a real venomous streak. It's a song suffused with pain about a selfish and manipulative ex-lover, but the rage points in both directions, filled with just as much self-loathing as there is outward anger.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>KAYTRAMINE - "Master P" (feat. Big Sean)</b></div><div style="text-align: left;">Producer Kaytranada and rapper Amine paired up to release a breezy, low-stakes album, but that's not the focal point here. The reason "Master P" was chosen is because of Big Sean being absolutely locked in and skating on his guest verse. I used to make fun of him alot, but he's got a lifetime pass for whatever goofy thing he does next after bodying this song.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Kicksie - "You're On"</b></div><div style="text-align: left;">I love the way Kicksie is able to sound homespun but never amateurish on "You're On" and the rest of her songs.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Killer Mike - "Scientists & Engineers" (feat. Andre 3000, Future & Eryn Allen Kane)</b></div><div style="text-align: left;">As of the writing of this list I have neither listened to Andre 3000's flute album nor the entirety of Killer Mike's album, but I made time for "Scientists & Engineers" when I heard there was a Three Stacks verse on it. The verse itself isn't mind-blowing -- I think he's become too in love with unconventional flows in his hiatus era -- but it's nice to hear him rapping anyway, and Killer Mike closes it out nicely with his verse at the end.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Larry June - "Turkish Cotton"</b></div><div style="text-align: left;">A good way to find new rap is to just pay attention to who The Alchemist is releasing collab albums or EPs with. I wasn't familiar with Larry June before this year's <i>The Great Escape</i>, but his drowsy rapping style is unique and intriguing. I don't necessarily know if I need it for a full tape's length, but it works well on "Turkish Cotton."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Life in Vacuum - "Hugo"</b></div><div style="text-align: left;">"Hugo" reminds me of a harder Interpol. It's a shame the music press has moved away from championing this kind of music, because I'm sure there are many bands doing it that we just never hear about.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Lil Uzi Vert - "Flooded the Face"</b></div><div style="text-align: left;">When Lil Uzi Vert's unwieldy, genre-agnostic <i>The Pink Tape</i> first dropped, I loved it. Even with the choices that didn't work, like including a cover of System of a Down's "Chop Suey"(?!), I respected the batty vision. As the year went on, it fell lower in my rankings because I just never really wanted to revisit it, but album opener "Flooded the Face" has never fallen out of my favor. It reminds me of the six-song salvo that opened <i>Eternal Atake</i>, where he's just rapping like there's no tomorrow. If there was more of this on <i>The Pink Tape</i>, it might've had a little more staying power.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Liquid Mike - "American Record"</b></div><div style="text-align: left;">The groundswell around Liquid Mike on DIY Music Twitter that made them go from a band that had a few dozen monthly listeners on Spotify to a few thousand was one of the most heartwarming things to happen on the internet this year. And it happened to a really deserving band and album. Once I got annoyed enough by the constant tweeting about Liquid Mike Hive, I finally gave <i>S/T</i> a listen, and it turned out to be an excellent, short-but-sweet power-pop album. The thought of shredding, weapons-grade catchiness like "American Record" going largely unheard before the grassroots campaign made more people aware of it is almost too tragic to bear.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Loma Prieta - "NSAIDs"</b></div><div style="text-align: left;">"NSAIDs" alternates between pretty and pummeling beautifully. I tried this Loma Prieta album even though it's out of my comfort zone, and while I didn't love it, this song does rule.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Meet Me @ the Altar - "Say It (To My Face)"</b></div><div style="text-align: left;">Zoomers need Hot Topic pop-punk too, and Meet Me @ the Altar ably fulfill that need on the punchy, snarling "Say It (To My Face)."</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Mickey Diamond - "Chrome Dome"</b></div><div style="text-align: left;">The cover of Mickey Diamond's <i>Oroku Saki</i> pays homage to MF Doom's <i>Mm...Food?</i> album cover, and its song titles that reference the Ninja Turtles even feels like something Doom would've done. But Diamond's deep, booming voice is something else entirely, and it elevates this project past mere imitation.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Militarie Gun - "Big Disappointment"</b></div><div style="text-align: left;">"Do It Faster" is everybody's pick from <i>Life Under the Gun</i>, but I'm going with "Big Disappointment" because I love its off-speed pitch rhythm in the verses before that massive guitar-crunch chorus.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>MSPAINT - "Delete It" (feat. Militarie Gun)</b></div><div style="text-align: left;">Every time I hear a band described as synth-punk, I want them to sound like Death From Above 1979 and they never do. MSPAINT doesn't either, but I like their brand of shouting phrases over blaring keyboards on "Delete It."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Nation of Language - "Too Much, Enough"</b></div><div style="text-align: left;">For some reason, Nation of Language never clicked with me before this year. I would listen to their singles dutifully because on paper, a band bringing back the synth-pop sound of New Order and early Depeche Mode sounds like it should be my thing, but it never had enough of a spark for me. I don't know what changed, but I love a handful of tracks on <i>Strange Disciple</i>, including "Too Much Enough." It's lithe and fun, and there's something almost mischievous about the tiptoeing bassline that forms the backbone of the chorus.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The National - "Space Invader"</b></div><div style="text-align: left;">This year, The National put out two albums that were solid but nowhere near the peak of their powers, and there's a big explanation for that: They have one of the best drummers in rock music and they don't let him cook anymore. On <i>Laugh Track</i>'s "Space Invader," they finally do, and it's their best track in at least a few years. Just a great six-minute song that builds until it boils over into a classic Bryan Devendorf drumming clinic.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>The New Pornographers - "Pontius Pilate's Home Movies"</b></div><div style="text-align: left;">It's an absolute crime that a New Pornographers song called "Pontius Pilate's Home Movies" wasn't written by Dan Bejar, because that's such a Dan Bejar title. But the rest of the crew do this lean, catchy song justice in his hiatus from the band.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Nova One - "Best / Worst"</b></div><div style="text-align: left;">This year I didn't listen to much of The Alternative's weekly Friday playlist, where I usually get alot of the tracks for this list, but "Best / Worst" is one I owe to them. I had a Nova One song on this list a couple years ago (also thanks to The Alternative), and like that song, this one has a classic quality to it where you can imagine them singing over Phil Spector production if they were around in the 60s.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Ok Cool - "normal c"</b></div><div style="text-align: left;">The noodly guitar style of Midwest emo can get a little boring after a while, but I really enjoyed the spin Ok Cool put on it on <i>fawn</i>. Album highlight "normal c" shows how well the band locks in, making it sound like the instruments are braided together.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Oneohtrix Point Never - "Krumville"</b></div><div style="text-align: left;">Along with scoring the terrific show <i>The Curse</i>, Oneohtrix Point Never put out a new album this year. True to its title, <i>Again</i> spans the sounds of Daniel Lopatin's whole career, often in the course of one song, as on "Krumville." What starts as a glitchy electronic track eventually gives way to more ambient sounds, then to a hypnotizing guitar loop, and then a full-blown song with vocals. Past, present, and future sewn together.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Origami Angel - "My PG County Summer"</b></div><div style="text-align: left;"><i>The Brightest Days</i> could be seen as Origami Angel's mature album, although not in the usual sense where that means a band releases a record that's slow and boring. It's mostly just that there aren't any lyrics about chicken nuggets and Nickelodeon cartoons on this one. But they're still producing sugary emo music to get you hyped up. "My PG County Summer" does just that -- its fizzy guitar and keyboard-led chorus hits like a tsunami. And its lyrics are surprisingly thoughtful amidst all the fun, reminiscing on what it's like to grow up in the DC area, where political outsiders are constantly encroaching on your home. <i>The Brightest Days</i> didn't get as much shine because it was labeled as a "mixtape," but it's just as substantial as their official albums.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Palehound - "Independence Day"</b></div><div style="text-align: left;">Over killer guitar work, "Independence Day" sketches out a breakup narrative that occurs on the 4th of July. It's funny and painful all at once.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Paramore - "Thick Skull"</b></div><div style="text-align: left;">Who would've thought in 2005, when pop-punk band Paramore and UK indie quartet Bloc Party released their debut albums, that one day the former would release something that sounds alot like the latter. You can hear the spiky remnants of mid-2000s post-punk all over <i>This Is Why</i>, on songs like the title track, "The News," and "C'est Comme Ca." That last one even features talk-singing portions in the vein of current post-punk greats like Dry Cleaning. They're so committed to this new sound of nervy anxiety that we don't get a classic Hayley Williams vocal performance until "Thick Skull," which closes out the album. But it's well worth the wait -- her wail in the second chorus is enough to crack the earth wide open.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Pi'erre Bourne - "Lessons"</b></div><div style="text-align: left;">Pi'erre Bourne is one of the best producers in the world and one of worst rappers, and that disparity continues to produce oddly satisfying results on "Lessons," as he drops one dopey bar after another on one of his trademark melted Jolly Rancher beats.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Pony - "Sucker Punch"</b></div><div style="text-align: left;">Like they did on 2021's <i>TV Baby</i>, Pony continue to provide that fuzzy, methadone Charly Bliss sound on <i>Velveteen </i>with songs like "Sucker Punch." It's got a candy coated hook that's sticky and irresistible.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Poppy - "The Attic"</b></div><div style="text-align: left;">Remember <a href="https://yeahthatantonio.blogspot.com/2017/05/falling-down-strange-brilliant-poppy.html">my Poppy phase</a>? I stopped paying attention to her music once she went the nu-metal pop route, but she seems to have left that sound and also slowly dropped the performance art aspect of her persona. As someone who's been away for a little while, it's honestly bracing to hear a song as sincere as "The Attic," but it's a terrific new look for her.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Redveil - "giftbag"</b></div><div style="text-align: left;">I remember listening to <i>Learn 2 Swim</i> from the then-18 year old rapper Redveil and thinking it was promising but not quite there. It turns out all it took was one year to figure things out, because he sounds fully formed on his <i>playing w/ fire </i>EP. The fact that he produces his own songs makes it all the more impressive when you hear something like "giftbag," whose beat has so much going on -- pianos, a soul sample, sounds I can't even identify -- but never feels too busy.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Ringlets - "Made of Mist"</b></div><div style="text-align: left;">I think I heard about Ringlets from a few Stereogum commenters. Big ups to them, whomever they may be. "Made of Mist" is fun guitar music and sometimes that's all you need.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Roc Marciano - "DNA"</b></div><div style="text-align: left;">The beat on "DNA" sounds menacing, and that's where Roc Marciano performs at the highest level. Best bit of Roc Marciano's inimitable phrasing here: "What I do with the loose leaf is immune to critique." </div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Romy - "The Sea"</b></div><div style="text-align: left;">The xx were a band that I never had much use for outside of a few tracks, but I've liked all of the members' solo work more. Straight up dance tracks like "The Sea" are the perfect backdrop for Romy's flat-affect vocals. And that guitar line pierces through the beat like a lighthouse beam in the night sky.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Rosie Tucker - "fizzy water"</b></div><div style="text-align: left;">In lieu of a new proper album, Rosie Tucker graced us with an experiment called <i>Tiny Songs Volume 1</i> this year which, just as advertised, features 12 bite-sized tunes ranging from 34 seconds to a minute and 17 seconds long. But despite the length, it's packed full of ideas, amazing melodies and killer hooks. Listen to the 48 second "fizzy water" and tell me that isn't a total banger. It's almost cruel for Tucker to cut these off when they're just heating up.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sabrina Carpenter - "opposite"</b></div><div style="text-align: left;">"Opposite" is about being upset that the new girl your ex is dating looks nothing like you, which is such a killer concept. On that alone it deserves a spot here, but it's also musically terrific, carried by Carpenter's airy voice, and full of memorable lyrics ("If you wanted brown eyes, I could've worn contacts" always makes me laugh).</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sada Baby - "Playeration"</b></div><div style="text-align: left;">I don't keep up with Sada Baby as much as I did a few years ago, but I listened to <i>Shonuff</i> and was happy to hear that he's returned back to the wild energy that made me love him in the first place. "Playeration" is just him shouting crazy bars for two and a half minutes and it's glorious.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sigrid - "Ghost"</b></div><div style="text-align: left;">Sigrid has always been on my radar as somebody to check out, because people who love B-tier pop stars (non-derogatory) really love her. Starting with her 4 song EP <i>The Hype</i> from this year felt like a easy entry point, and I happened to enjoy these catchy, no-frills songs. Oddly enough, my favorite of the bunch is the power ballad, "Ghost," which showcases the smokiness in her voice that gives it real personality.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Slow Pulp - "Carina Phone 1000"</b></div><div style="text-align: left;">Some people just have a voice that makes you sad. I mentioned in my Frankie Cosmos entry that Greta Kline is one of those people. Soccer Mommy's Sophie Allison is one of those people. And Slow Pulp lead singer Emily Massey is also one of those people. In the middle of their excellent <i>Yard</i>, they drop two downer classics with the self-titled track and "Carina Phone 1000." For a long time, "Yard" was my frontrunner, but I've come back to "Carina Phone 1000" so many times whenever I just want to feel blue. The dejected way Massey sings "That's life, I guess..." in the chorus hits every time.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Speedy Ortiz - "Emergency & Me"</b></div><div style="text-align: left;">Speedy Ortiz is one of those bands you can check in on every now and then and feel the relief of knowing they're still around doing their thing. And "Emergency & Me" is very much their thing of smart, tangled guitar pop.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Spiritual Cramp - "Can I Borrow Your Lighter?"</b></div><div style="text-align: left;">Reviews of this Spiritual Cramp record always namecheck The Clash and The Stooges, but all I hear is bands that I listened to in middle school like Franz Ferdinand and The Futureheads, back when describing something as post-punk meant that it was "catchy and angular," not "the most droning, boring music you can imagine." There's something in the production and guitar sound of "Can I Borrow Your Lighter?" especially that sounds so 2005 to me, in a good way.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Spoon - "Silver Girl"</b></div><div style="text-align: left;">Spoon is so consistent, even their B-sides are great.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>String Machine - "Out Loud"</b></div><div style="text-align: left;"><i>Hallelujah Hell Yeah</i> by String Machine was one of my favorite albums last year, and if the EP they put out this year is any indication, they haven't lost any of the heat they had. What makes them great is they can do maximalist, lush indie rock but they're equally effective at doing a pared-back track like "Out Loud."</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Superviolet - "Big Songbirds Don't Cry"</b></div><div style="text-align: left;">The Sidekicks run as a band occurred when I wasn't really tapped into that corner of music, but they seem like something I'd like, especially if the lead singer's post-Sidekicks project Superviolet is any indication. This is more in the rootsy-vein than the full band seemed to be, but there's some killer songwriting and subtle infectiousness here.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sweeping Promises - "Walk in Place"</b></div><div style="text-align: left;">If you ever wanted to hear New Wave music with lo-fi aesthetics, then Sweeping Promises are the band for you. I'm not as hot on this album as critics seem to be, but "Walk in Place" is a nice DIY take on Blondie.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Tanukichan - "Take Care"</b></div><div style="text-align: left;">The main guitar riff of "Take Care" is very similar to "Uncalley Valley Forever" by the band Courting. I don't have much to say other than it sounds great both times.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Taylor Swift - "When Emma Falls in Love"</b></div><div style="text-align: left;">I never thought the day would come, but I finally got a little sick of Taylor Swift in 2023. She's everywhere! I'm tired of seeing her and hearing about her! Even the onset of Swiftie fatigue isn't enough for me to not recognize a high quality tune when it comes my way. After all of her transformations throughout her career, there's nothing quite like her tapping into the youthful longing of her early days, which <i>Speak Now </i>vault track "When Emma Falls in Love" reminds us. Last year, I teased a Taylor Swift project I'm working on that didn't come to fruition, but 2024 feels like the year it happens. I just need her to take a nice break from the spotlight so my enthusiasm can recharge.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Teenage Halloween - "Getting Bitter"</b></div><div style="text-align: left;">It's a well established pattern that if a band has a male and a female vocalist, I will always like the latter's songs more. Such is the case with the catchy punk band Teenage Halloween and the song "Getting Bitter."</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Texas 3000 - "Connector Fuck Man"</b></div><div style="text-align: left;">Texas 3000, who hail from Japan, were initially pitched to me as Yuck meets Feeble Little Horse, which is a quick way to get me to listen. I don't really hear much of either of those bands, but that doesn't matter, because this is excellent guitar music no matter what lens you view it from. "Connector Fuck Man" is constantly moving forward -- it's got about 5 different guitar parts that'll make your hair stand up.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Tinashe - "Talk to Me Nice"</b></div><div style="text-align: left;">Tinashe is not an artist I usually check out full projects from, so <i>BB/ANG3L </i>caught me off guard when I did give it a spin. All seven songs are fantastic, forward-thinking R&B, but "Talk to Me Nice" is on another level. She's in complete command over that woozy, churning beat. Words don't do it justice -- it's a vibe you have to experience.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>TisaKorean - "SiLlY MoAn.mP3"</b></div><div style="text-align: left;">Even with the knowledge that music trends come in 20 year cycles, I still never imagined that the ringtone rap of my adolescence would have a revival. But here we are, with the delightfully dumb, annoyingly catchy "SiLlY MoAn.mP3." TisaKorean's <i>Let Me Update My Status </i>is <i>entirely </i>like this and I can't stomach all of it together, but it's very fun in individual pieces.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Tyler the Creator - "STUNTMAN" (feat. Vince Staples)</b></div><div style="text-align: left;">You'll recall that <i>CALL ME IF YOU GET LOST</i> renewed my interest in Tyler the Creator, so I was happy when he released a deluxe version of it this year with eight new songs. I like those tracks, although they veer back into that <i>Igor </i>and <i>Flower Boy</i> territory that I didn't really vibe with. That's why "STUNTMAN" is my favorite, because it's an unequivocal rap song -- just Vince Staples and Tyler going back and forth on a beat co-produced by Pharrell. Hopefully he stays in this lane for the next album.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>White Reaper - "Fog Machine"</b></div><div style="text-align: left;">White Reaper had a song in a Taco Bell commercial earlier this year, and for reasons that are hard to explain, that feels perfect. Imagine driving on the freeway and ripping through a cheesy gordita crunch while listening to "Fog Machine." How happy did that make you?</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Wilco - "Evicted"</b></div><div style="text-align: left;">Man, I have just not been vibing with Wilco albums for a while now. I guess the last one I fully liked was <i>Star Wars</i>? I'm picking "Evicted" from <i>Cousin</i>, because it's one of the few that sounds like it's got energy. Jeff Tweedy is actually singing instead of drowsily dripping words out, and the instrumentation has a brightness and warmth to it.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Wye Oak - "TNT"</b></div><div style="text-align: left;"><i>Every Day Like the Last </i>is a compilation album where six out of nine songs are singles that were released dating back to 2019. But since I never listened to those, this is all brand new to me, and this just feels like a regular Wye Oak album. And viewed from that angle, it's a rather good one. "TNT" may be an explosive title, but the song is anything but. Instead, it moves you like a lazy river, carried by Jenn Wasner's beautiful voice and lovely instrumentation.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Yeat - "My Wrist" (feat. Young Thug)</b></div><div style="text-align: left;">Young Thug showing his sons that they still can't do it like him.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Yo La Tengo - "Aselestine"</b></div><div style="text-align: left;">Admittedly, I haven't given Yo La Tengo's loose, jammy <i>This Stupid World</i> enough listens, but every time I do, I'm knocked flat by the gorgeous "Aselestine" arriving like a reverie in the midst of a storm.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Young Nudy - "Shrimp"</b></div><div style="text-align: left;">In many ways, I feel that I'm losing touch with rap music and that my grip on the genre is slipping as I get older and the genre continues to move at a faster pace. But nothing makes me feel more alive than Young Nudy putting out a new album, me sampling it to find the ones that have weird/cool beats, and listening to a playlist of those over and over.</div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com3tag:blogger.com,1999:blog-2395748504986705619.post-32134746704738718592022-12-31T00:01:00.450-05:002023-12-30T00:54:09.805-05:00My 20 Favorite Television Shows of 2022<div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEGVg96kgtxLvQhuGta5r5m86loLbuVbpPmxPitzRg917P_uRT2I3J2lES6AU3MpcF-fiaKTgBnMJsI51tXNtjvh9E3JbS688CzFXYdEbDiqkafFI6qLU28zzeMnYFMayR3PyqeqNpXbyE63_XsyFVEn_eJMwfLzTc4eLTT7wTua4XAl-OPg6OvKT2yQ/s1920/Best%20of%20tv%20picture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEGVg96kgtxLvQhuGta5r5m86loLbuVbpPmxPitzRg917P_uRT2I3J2lES6AU3MpcF-fiaKTgBnMJsI51tXNtjvh9E3JbS688CzFXYdEbDiqkafFI6qLU28zzeMnYFMayR3PyqeqNpXbyE63_XsyFVEn_eJMwfLzTc4eLTT7wTua4XAl-OPg6OvKT2yQ/w400-h225/Best%20of%20tv%20picture.jpg" width="500" /></a><br /><br /></div><div style="text-align: left;">Alexa, play "3 Peat" by Lil Wayne.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">That's right, for the third year in a row, I've accomplished the arbitrary goal I started to shoot for a few years ago of trying to watch less than 100 shows in full this year. Although I did cut it close with 98 series, compared to 87 in 2021 and 93 in 2020, a win is a win. I initially gave this mission to myself in order to watch less TV and focus on other interests, but even though I watched 98 shows, my relationship to television feels pretty healthy these days. Sure, I watch alot of shows, but I waste far less time on things that are mediocre than I used to.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">There wasn't much of an overarching trend to explain the TV landscape in 2022. It was more about the continuation of narratives we've been living through for a while now, most notably the persistent dominance of a few streaming services when it comes to the content that takes up space in the market. Although I do wonder whether that bubble is on the verge of bursting, particularly with the outrage that sparked from HBO Max's <a href="https://ew.com/tv/westworld-leaving-hbo-max/">decision to remove some of their original content from the service</a> in the past few months.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">For me the theme of 2022, like all years, is that there's alot of good TV. Let's take a look at some of those shows.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> In recent years I started this thing where I had separate eligibility windows for streaming shows that dropped the whole season at once and shows whose episodes premiered weekly, but I'm dropping that because it was too confusing and most streaming services have switched to weekly releases. Nobody reads this part anyway. Shows are considered for this list based on their episodes that aired between January 1, 2022 and December 31, 2022.</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Honorable Mentions (25-21)</b></div><div style="text-align: left;">Though the show has disappeared from the public consciousness, <i style="font-weight: bold;">My Brilliant Friend </i><span style="font-weight: bold;">(HBO)</span> delivered another sumptuous season adapting Elena Ferrante's <i>Neapolitan</i> series, which ends on a dynamite finale. Nobody is making comedy quite like Danny McBride, Jody Hill, and David Gordon Green, who delivered more bombastic absurdity with the second season of <b><i>The Righteous Gemstones</i> (HBO)</b>. Showcasing some of the most adventurous direction on television, <b><i>Servant</i> (Apple TV+)</b> pushed its eerie narrative to an even higher pitched intensity. The second half of <b><i>Ranking of Kings</i> (Crunchyroll)</b> finished airing at the beginning of the year, and this dark fairy tale was just as charming and empathetic as it started. <b><i>The English</i> (Prime Video)</b> blends a classical and revisionist approach to the western genre, telling a complicated and fractured journey that's challenging, but all the more satisfying when it finally comes together.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>20. Lycoris Recoil (Crunchyroll)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4xiiwIsAzbbPQtWeOgubjEXVZqoSLmu1pcnlKiozHfEVC02g6w1z-qbi8GEJr_gJ4Ytwn-E4YLbO5QjOHrlUT6CvppT2bt8LjDip9IpSHzFr89N5yP0OvvTbPooaHuOHg4UbRp_rRfpMVKAnE6DrKWPDo0GFFiubcr-MLysaSdB9Xpf-0QvAVf0K2g/s1920/Lycoris%20Recoil.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4xiiwIsAzbbPQtWeOgubjEXVZqoSLmu1pcnlKiozHfEVC02g6w1z-qbi8GEJr_gJ4Ytwn-E4YLbO5QjOHrlUT6CvppT2bt8LjDip9IpSHzFr89N5yP0OvvTbPooaHuOHg4UbRp_rRfpMVKAnE6DrKWPDo0GFFiubcr-MLysaSdB9Xpf-0QvAVf0K2g/w400-h225/Lycoris%20Recoil.jpg" width="450" /></a></div><div style="text-align: left;">Girls with guns is a mainstay genre for anime, so how do you make it feel fresh? The answer is to have the sheer force of personality that <i>Lycoris Recoil</i> contains. There's nothing particularly new about its setup, involving a secret government counter terrorism force that uses teenage girls for complicated urban camouflage reasons -- that's Anime 101. What makes <i>Lycoris Recoil</i> a cut above is its execution. Every aspect of the show's production is top notch: the detailed background design, some of the most expressive character animation of the year, incredible action filmmaking, and vibrant voice acting. All of those elements combine to sell the appeal of the show, which is ultimately down to the chemistry of its two leads and seeing them play off of one another. With a perfectly calibrated mixture of chipper vibes and darkness, there's something for everyone in <i>Lycoris</i>.</div><div style="text-align: left;"><span style="font-weight: 700;"><br /></span></div><div style="text-align: left;"><span style="font-weight: 700;"><br /></span></div></div><div style="text-align: center;"><b>19. The Good Fight (Paramount+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD7RLrDCfqwCX6wlBh_-Fv0QN3FStBse3qbFSbAlsvp0Qr76_fLhGWqswbXZHk4B5i0JpWluBvtiK7Dyku5KSwa2OkPeiJ6HfW1LQbLtvPeSIJUc6OqczJNk_1p_3d9LCzQp1fVBMkwB9VvqG518c5-HKCYAwSDIL_7Jtgp6ocInFTWDWwSFNodTt9Og/s1500/The%20Good%20Fight.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD7RLrDCfqwCX6wlBh_-Fv0QN3FStBse3qbFSbAlsvp0Qr76_fLhGWqswbXZHk4B5i0JpWluBvtiK7Dyku5KSwa2OkPeiJ6HfW1LQbLtvPeSIJUc6OqczJNk_1p_3d9LCzQp1fVBMkwB9VvqG518c5-HKCYAwSDIL_7Jtgp6ocInFTWDWwSFNodTt9Og/w400-h266/The%20Good%20Fight.jpg" width="450" /></a></div><div style="text-align: left;">After a 13 year run, the <i>Good</i> franchise has (presumably) come to an end with season six of <i>The Good Fight</i>, and what a fantastic tenure it was. Unshackled from the network television constraints <i>The Good Wife</i> had to adhere to, <i>The Good Fight</i> blossomed into its own thing, a zanier, angrier, more political cousin to its predecessor. And the final season was business as usual, delivering the show's masterful combination of wacky subplots and rock solid legal procedural storytelling. There was even one last wild alternate fiction idea that they swung for in the end, with its characters being presented with an idea to rebuild the Democratic Party from the ground up. Lately, people have become obsessed with Michelle and Robert King's other current show <i>Evil</i>, but <i>The Good Fight</i> is still their best work.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>18. My Dress-Up Darling (Crunchyroll)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0kVqcRnKQEfaD5tknrfpTrmTSBhse3dzx8ju56L3-Lf7Q1KEfKX4JG20Ay7UUhEu4eKbm839_AX9PX5iREpYU_v0AawoncFSRctz1odX1ZDVUY5cXm0mk8g0c2iF11TeyVEPleg4HFJg1Ph2vVvcvEthqPpWKswH5aSqRLgdN8yCt6J2DMOb0XcN8fA/s1334/My%20Dress-Up%20Darling.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1334" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0kVqcRnKQEfaD5tknrfpTrmTSBhse3dzx8ju56L3-Lf7Q1KEfKX4JG20Ay7UUhEu4eKbm839_AX9PX5iREpYU_v0AawoncFSRctz1odX1ZDVUY5cXm0mk8g0c2iF11TeyVEPleg4HFJg1Ph2vVvcvEthqPpWKswH5aSqRLgdN8yCt6J2DMOb0XcN8fA/w400-h225/My%20Dress-Up%20Darling.jpg" width="450" /></a></div><div style="text-align: left;">There's nothing better than being able to share your interests with other people. That's the whole reason I started this blog way back in 2013 as a lonely college kid. <i>My Dress-Up Darling</i> understands that concept well in its telling of the story of the unlikely bond between Wakana Gojo, an introverted high schooler apprenticing at his grandfather's Hina doll shop, and Marin Kitagawa, his outgoing classmate who enlists his talents to help fulfill her dream of becoming a cosplayer. Given the nature of most cosplay costumes, <i>Dress-Up Darling</i> is not without its horny moments, but it's way more invested in the mechanics of the creative process than it is in titillation. This is actually a surprisingly wholesome show, one that at its core is about how nice it is to have someone to hang out with, as its best moments depict the journey of these two characters feeling each other out and becoming friends. With a maturity to its characters and a deep dive into a fascinating niche subject, <i>My Dress-Up Darling</i> is 2022's best romance.</div></div><div style="text-align: left;"><span style="font-weight: 700;"><br /></span></div></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>17. Primal (Adult Swim)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8VBi31Ug4Gyrmi9ZZ6l12p_fKejxMZng-xwH-gCS-Hu7QfIbEfKZ8qdgErYEnpIstyoJ361jJQLP59GivGyn0x6D3fPj-eGoqZc5fMDJNMSWkVpUkNweMNUxwjTTKe-Kz5zOMxN9DqilmwL37O96x3e8dBAN_JfUhxBtvjhAEWHiyhMF7JRp2UlC8zg/s1920/Primal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8VBi31Ug4Gyrmi9ZZ6l12p_fKejxMZng-xwH-gCS-Hu7QfIbEfKZ8qdgErYEnpIstyoJ361jJQLP59GivGyn0x6D3fPj-eGoqZc5fMDJNMSWkVpUkNweMNUxwjTTKe-Kz5zOMxN9DqilmwL37O96x3e8dBAN_JfUhxBtvjhAEWHiyhMF7JRp2UlC8zg/w400-h225/Primal.jpg" width="450" /></a></div></div><div style="text-align: left;">If you came of age anywhere between the late 90s and mid 2000s, there's a good chance that Genndy Tartakovsky's work on Cartoon Network heavily defined what you thought of animation. Between creating <i>Dexter's Laboratory</i> and <i>Samurai Jack</i>, along with doing work on <i>Powerpuff Girls</i> and various other cartoons, his direction was unmistakable whether you knew his name or not. Marked by meticulous rhythms and long silences, Tartakovsky's shows are an excellent testament to the power of animation as a medium, and he's only gotten better at his craft, doing some of his best work this year in season two of <i>Primal</i>. Operating largely dialogue free, the series offers dazzling visual storytelling in its brutal prehistoric world. The second season was a little more serialized than its first, delivering a compelling overarching narrative about parentage and revenge that felt more creative and confident. Sometimes limitations are good when making art, but <i>Primal </i>proves that Genndy Tartakovsky unleashed is when he's at his best.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>16. The Dropout (Hulu)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJ9Iv4XRwhLfuG4OrTDmuJE5dz48wkCnP4GuPquxbyhR4xWGKD0p6ZiBkw3GTPP29M9_K4Q3969taTkjhuK6mfJqOwHgDihWvLhjs2WJ1BV8B8L9JjD_1zEcJ5z_VTfM81vLfb6aCs4a2LDIVFa-GrzlfXTV6jADMOhlA0uSvWz1dAw8HM7GcWgv2LQ/s1200/The%20Dropout.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1200" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJ9Iv4XRwhLfuG4OrTDmuJE5dz48wkCnP4GuPquxbyhR4xWGKD0p6ZiBkw3GTPP29M9_K4Q3969taTkjhuK6mfJqOwHgDihWvLhjs2WJ1BV8B8L9JjD_1zEcJ5z_VTfM81vLfb6aCs4a2LDIVFa-GrzlfXTV6jADMOhlA0uSvWz1dAw8HM7GcWgv2LQ/w400-h270/The%20Dropout.jpg" width="450" /></a></div></div><div style="text-align: left;">2022 was the year of the scammer show. Between Apple TV+'s <i>WeCrashed</i>, Netflix's <i>Inventing Anna</i>, and Showtime's <i>Super Pumped</i>, networks and streamers couldn't get enough of stories about people who bamboozled others out of money. Hulu's <i>The Dropout </i>falls into that category as well, but it manages to transcend that classification through its creative flair and solid storytelling instincts. In its retelling of the rise and fall of Elizabeth Holmes and Theranos, the show digs deeply into the peculiar woman at its center, genuinely interested in what makes her tic and sympathetic to her without ever forgiving the damage she wrought. That wouldn't work nearly as well as it does without the long-underrated Amanda Seyfried's transfixing work as Holmes. In a year of series that seemed to only exist to watch actors do their best impression of real life people (see: the misguided <i>Pam and Tommy</i>), Seyfried tapped into a pathos that goes beyond mere imitation.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>15. Bocchi the Rock! (Crunchyroll)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigilwZS-101uy0o3ERfEvwUZJNpc0Mwy9E16B2JzsHJ9i49zsNm2XuqZof1_JOD-GSjBg6gssMpTLPqY-yXCeiimJ2K8rqePvo0CS-9TIbf66FG7-7sA1G7dv6agNU8exJbKAdzeqcJGgvOK700VYSMvm5UgZ9oTSF5u8l41buGYZIQQwjQC4yCPKzgw/s1200/Bocchi%20the%20Rock.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigilwZS-101uy0o3ERfEvwUZJNpc0Mwy9E16B2JzsHJ9i49zsNm2XuqZof1_JOD-GSjBg6gssMpTLPqY-yXCeiimJ2K8rqePvo0CS-9TIbf66FG7-7sA1G7dv6agNU8exJbKAdzeqcJGgvOK700VYSMvm5UgZ9oTSF5u8l41buGYZIQQwjQC4yCPKzgw/w400-h225/Bocchi%20the%20Rock.jpg" width="450" /></a></div><div style="text-align: left;"><span>Having a job as an animator in Japan is a tough break. Faced with mammoth workloads and tight deadlines, production often falls apart on anime, leaving animators burned out by the end of the season. But sometimes the stars align and everything falls in place for talented people to do their job to their best ability. Such is the case with <i>Bocchi the Rock!</i>, a 12 episode work of increasing visual madness. The show takes the simple premise -- girl with crippling social anxiety and incredible guitar skills who yearns to connect with people by starting a band -- and uses it as a jumping off point for exquisite comedic gags that push the limits of animation. If it merely functioned as a visually stunning bit machine, that would have been enough, but it's also a great depiction of the warm comfort in finding people to be creative with. When the style and the substance of <i>Bocchi the Rock!</i> are clicking together, it's a joy like no other.</span></div><div style="text-align: left;"><span><br /></span></div></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>14. Star Trek: Strange New Worlds (Paramount+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aWT9BAQW2SrmTRLbyBmKwxcdW-AE-bjaMtIOL4rWA7nHb9PoGZ_NXHPg_nkaD98VWzGk432MDLpuxyla75kQ6jpA46gs-hsATeeBsJPfVEZ8nAE46hZofZcekG-5Fpb3LSlFAofun7v-4W5gEdv4jG6pWuR4wsVD-h7ao7GABdcjuTpSkuxmQa4U1A/s960/Star%20Trek%20Strange%20New%20Worlds.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="960" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aWT9BAQW2SrmTRLbyBmKwxcdW-AE-bjaMtIOL4rWA7nHb9PoGZ_NXHPg_nkaD98VWzGk432MDLpuxyla75kQ6jpA46gs-hsATeeBsJPfVEZ8nAE46hZofZcekG-5Fpb3LSlFAofun7v-4W5gEdv4jG6pWuR4wsVD-h7ao7GABdcjuTpSkuxmQa4U1A/w400-h225/Star%20Trek%20Strange%20New%20Worlds.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Star Trek </i>is a pretty daunting franchise to get into. There are a total of over 700 episodes across its many live-action series and animated series, and more than a dozen films. That's not to mention every fan seems to have a different of idea of where to start and what to skip on your journey. If you're like me, maybe your only experience with <i>Star Trek</i> was the JJ Abrams films, and you tried to get into TV <i>Trek</i> with the newer series like <i>Discovery</i> and <i>Picard</i>, but bounced off of them because they were, quite frankly, not very good. Well, <i>Strange New Worlds</i> is exactly what you're looking for. This latest series in the franchise delivers what fans have been demanding for ages: episodic adventures focused on exploration, discovery, and sometimes even body swapping. "Episodic" seems to be a bad word to creators these days, but it's amazing what that storytelling structure can achieve when done properly. And <i>Strange New Worlds</i> does it exceptionally, tossing engaging stories at its distinct and well realized crew of characters with an impressive ease. It doesn't matter if you're an inveterate Trekkie or a total newbie, this is just terrific television.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>13. House of the Dragon (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8TQK_AfY9xE_PQH_qsj-L9_8Fgq1N7p4iFlV7uTd3cUm4cquESjKzU0F5vAO4XKtK08dTJpk-IC7bYkDYMRKcWWt_ZIk7TFQMyvo0W9wjbiebop7zoy_8SiP3h-1TlGPYSrCieLJ-NvI_aTiaqOQqCop0WoWN_t6ilcrCQn9ZrBkVFeq0FMGYwI6SQ/s1686/House%20of%20the%20Dragon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="1686" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8TQK_AfY9xE_PQH_qsj-L9_8Fgq1N7p4iFlV7uTd3cUm4cquESjKzU0F5vAO4XKtK08dTJpk-IC7bYkDYMRKcWWt_ZIk7TFQMyvo0W9wjbiebop7zoy_8SiP3h-1TlGPYSrCieLJ-NvI_aTiaqOQqCop0WoWN_t6ilcrCQn9ZrBkVFeq0FMGYwI6SQ/w400-h225/House%20of%20the%20Dragon.jpg" width="450" /></a></div></div><div style="text-align: left;">After the bungled ending of <i>Game of Thrones</i>, nobody was eager to return to the world of Westeros, and yet here we are, dragged back against our will by the power of <i>House of the Dragon</i>'s delicious palace intrigue, petty court squabbling, and metaphors about nuclear brinkmanship. What it lacks in the flashiness of shocking plot turns that its predecessor provided, <i>Dragon</i> makes up for it in the kind of television I prefer: delicate scene construction that's hypnotized by the power of two people in a candlelit room talking, and well-tuned to their intricate, often conflicting desires. The first season was not without its missteps -- time jumps that disoriented the storytelling momentum, basically any time it attempted <i>Thrones</i>-esque spectacle -- but it dazzled in all the ways that mattered more. I'm not enough of a provocateur to declare <i>House of the Dragon</i> better than the series it serves as a prequel to, but I'm willing to say that the conversation is less outlandish than you'd think.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>12. Irma Vep (HBO Max)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi72LCAtOa2zOJTSi_7B3s2dLb-ffjoAw3hjNlL5_f9h_-9szY3msSfuP2y7y4q45A6SBhxnjQdmRPG5hDh5dkhlWUftepTs-h65w-zSGuPJ-wYqAqC_BPfHsB5-idfPuwRFS-l2_7KbUqy_YV0W7_QO6fMfYEcD7BjeyivHj1oNTdtNwXLiLTVuNfJbw/s1486/Irma%20Vep.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1486" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi72LCAtOa2zOJTSi_7B3s2dLb-ffjoAw3hjNlL5_f9h_-9szY3msSfuP2y7y4q45A6SBhxnjQdmRPG5hDh5dkhlWUftepTs-h65w-zSGuPJ-wYqAqC_BPfHsB5-idfPuwRFS-l2_7KbUqy_YV0W7_QO6fMfYEcD7BjeyivHj1oNTdtNwXLiLTVuNfJbw/w400-h291/Irma%20Vep.jpg" width="450" /></a></div></div><div style="text-align: left;">In 1996, director Olivier Assayas made <i>Irma Vep</i>, a film starring Maggie Cheung (his wife from 1998 to 2001) as a foreign actress starring in a remake of the silent film <i>Les Vampires</i>. It's an arthouse classic for a reason, an exhilarating work of punk rock filmmaking that's at once reverent of cinematic history and determined to set it ablaze from the top down. Now in 2022, Assayas decided to make <i>Irma Vep</i>, a miniseries about a director enlisting a foreign actress (played by Alicia Vikander) to star in his miniseries remake of <i>Les Vampires</i>, a film that this director already remade earlier in his career that starred his ex-wife. If that meta ouroboros is making your head spin, welcome to the wonders of <i>Irma Vep</i> <i>(2022)</i>. The series encompasses a freewheeling range of ideas, from satirizing Hollywood blockbusters, pretentious arthouse films, and prestige TV, to presenting its characters' struggle to finding meaning in the work they do. At the center of it all is Vikander giving the performance of the year, veering from playful to emotionally rich and back again in the blink of an eye. With the tangled Discovery/Warner mess that occurred this year, who knows what content will get greenlit going forward, so it's a relief that something this micro-targeted made it in at the buzzer.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>11. As We See It (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoMhL8ipKAddVVxVs01NXn9q8A4XQtTJk0P2PeJr-NQIKfYqgJsRiJpTsxl0oK4EwsenmIWGmGB9Ainx7EFz5ApINhD_uNghskBBzF1IX93w2nd_unmIwpQjOppDuj5vIuYx2c-_KBphjYqUNvwGdZTQSOmNRkyLQkT9eH3mA96ztGmiDP_75EEC-Hag/s1200/As%20We%20See%20It.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoMhL8ipKAddVVxVs01NXn9q8A4XQtTJk0P2PeJr-NQIKfYqgJsRiJpTsxl0oK4EwsenmIWGmGB9Ainx7EFz5ApINhD_uNghskBBzF1IX93w2nd_unmIwpQjOppDuj5vIuYx2c-_KBphjYqUNvwGdZTQSOmNRkyLQkT9eH3mA96ztGmiDP_75EEC-Hag/w400-h225/As%20We%20See%20It.jpg" width="450" /></a></div></div><div style="text-align: left;">There's more TV than ever, and yet there are many modes of television that are dying out all the same. One of them is the kind of cozy, small-scale drama that Jason Katims (<i>Friday Night Lights</i>, <i>Parenthood</i>) has been delivering since the 90s. Despite mawkish simulacra of his work popping up in the form of <i>This Is Us</i> and its many copies, nobody does it quite like him, and after a few years out in the wilderness, he's back to what he does best with <i>As We See It</i>, which centers on the lives of three people in their 20s on the autism spectrum and the aide who helps them out. Taking a humanist approach to its storytelling, the show burrows into its characters who are always trying their best and sometimes fall short. Because of that mission statement, it's able to wring massive emotions out of tiny moments and gestures. There's a reason why most television focuses on life and death stakes: it's far from easy to depict people going through daily life problems and make those conflicts watchable without being melodramatic. When a show does it with <i>As We See It'</i>s high level of skill, we ought to savor it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>10. Slow Horses (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06s7iFvuneddXfUuPR1kd80Kfyjx7oqc53v_Y5KKdnhAI_Y-8L9EbRRW2C-ESO7n2E9xIcGFpiMMcso7rM-0JhSDWCgsp5lPaitl_RbRdy2DaJKKJoHpv2wN-bPqs2e0CvDoWosQWMkZqTYGrD4-TRZdDcvH2LzaKTJ9bc5Ibida5cy4m_AoElfXs0g/s1200/Slow%20Horses.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi06s7iFvuneddXfUuPR1kd80Kfyjx7oqc53v_Y5KKdnhAI_Y-8L9EbRRW2C-ESO7n2E9xIcGFpiMMcso7rM-0JhSDWCgsp5lPaitl_RbRdy2DaJKKJoHpv2wN-bPqs2e0CvDoWosQWMkZqTYGrD4-TRZdDcvH2LzaKTJ9bc5Ibida5cy4m_AoElfXs0g/w400-h266/Slow%20Horses.jpg" width="450" /></a></div></div><div style="text-align: left;">The espionage genre is known for its highly competent, smooth leads, but <i>Slow Horses</i> subverts that notion in its setup of following the members of Slough House, a limbo organization where failed and disgraced MI5 agents' careers go to die. <i>Horses</i> gets off to the races quickly however, when the group stumbles into a right-wing terrorist plot and the stakes-raising ensues. The show is deeply invested in the dangerous work of spycraft, but not so much that it forgets to liven up the proceedings with dashes of wry humor. The taut, serrated storytelling is even more effective when you don't know if a moment of tension is going to be defused with a gag or ratcheted up by mortal danger. On top of that, Gary Oldman is having the time of his life with his performance as the boorish boss Jackson Lamb, a drunkard who's quick with an insult but knows how to get the job done when needed. Blending the clever dialogue of <i>Justified</i>, <i>Homeland</i>'s thriller plotting, and the intrigue of a Tony Gilroy script, <i>Slow Horses</i> is a fantastic watch for all levels of espionage fans.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>9. Cheer (Netflix)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvVFkbrPqEYuBZFjn5eTNSpTxpcpwkfUADcmKypitoidJ391LppEYbKakaDmPTb4bIs5MiAaiak1zFhJx1IWaoeYbwWFKjd1t_vEPIMLT8bsG3OnmbR7c7DcfLAYCTRdugkSEPsVh9I5eyykWVxMwil1zx5MmSmDWPD3dU8PBvjaU2I2yO6bAemBNuw/s680/Cheer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="680" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvVFkbrPqEYuBZFjn5eTNSpTxpcpwkfUADcmKypitoidJ391LppEYbKakaDmPTb4bIs5MiAaiak1zFhJx1IWaoeYbwWFKjd1t_vEPIMLT8bsG3OnmbR7c7DcfLAYCTRdugkSEPsVh9I5eyykWVxMwil1zx5MmSmDWPD3dU8PBvjaU2I2yO6bAemBNuw/w400-h225/Cheer.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Cheer</i>, Netflix's docuseries about the best junior college cheerleading program in the nation, became an overnight sensation in the beginning of 2020, turning regular student athletes into minor celebrities. Then, something even more wild happened: Jerry Harris, arguably the show's biggest breakout star, was arrested by the FBI in September of that same year for soliciting sex from minors. Season two of the show tackles the issue head on in episode five, which is an accomplishment in documentary storytelling, offering a lucid examination of sexual coercion that wrestles with the feelings of those who loved Jerry while always making sure to center the victims' experience. That the season manages to juggle that, the consequences of COVID, and introducing a rival school the camera crew follows without toppling under the weight of its scope is a minor miracle. With its intense focus on the process of trying to achieve unbelievable feats of physicality, and the human interest stories of the people on that journey, <i>Cheer </i>deftly gives you a front row seat to all the highs and lows. It's everything beautiful and terrible about sports in one riveting, heartbreaking package.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>8. For All Mankind (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKeqDb7PJ2gb4tgHLeyEEoCb_0LsU05qUR0td2q812RkXQxWm-PkxtzTEOP-bGaY_TITl5w6Xng8uRmJxyyimC-ZzhJ4WrTQ3Yc8EPvj7iVAjGmIPu9p9q9mZeNfoqVNDomdH4VtoysjXi8IWKVz2kvG5SDx925rkOJIcwcrABKZbVji5zoxOB4fBqNQ/s2448/For%20All%20Mankind.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1434" data-original-width="2448" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKeqDb7PJ2gb4tgHLeyEEoCb_0LsU05qUR0td2q812RkXQxWm-PkxtzTEOP-bGaY_TITl5w6Xng8uRmJxyyimC-ZzhJ4WrTQ3Yc8EPvj7iVAjGmIPu9p9q9mZeNfoqVNDomdH4VtoysjXi8IWKVz2kvG5SDx925rkOJIcwcrABKZbVji5zoxOB4fBqNQ/w400-h234/For%20All%20Mankind.jpg" width="450" /></a></div></div><div style="text-align: left;">Almost as important as the season of a show where it takes "The Leap" is what happens afterward. And this year, <i>For All Mankind</i> proved that season two's liftoff into greatness was no fluke. After landing on and colonizing the moon last year, Mars was the objective of the third season of this excellent alternate history space race drama. And of course, that led to more of the show delivering on what it does best: creating impossible problems to solve through the power of unity and science. It seemed like every other week it was giving us a perfectly crafted episode of nail-biting tension, where most shows only have one of those in the tank per season. And those plot complications wouldn't mean half as much without the show's unparalleled ensemble, who continued to go on fascinating, layered journeys. That deft melding of plot and character is ingrained in <i>For All Mankind</i>, where a single crisis can reverberate and create engrossing conflicts for about five separate storylines. It seemed like everybody finally listened and jumped on the show's hype train in 2022. If you haven't, then what are you waiting for?</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>7. Better Call Saul (AMC)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfn92J75qG1bbqpv15EF6siYtRkfnwJETwDXaSgq5fOqjmFYVPAsSYZj_0NTyZ3uTrT2i13rByHSCoJ2QKrGCmiw8cm8TBcXmfZi1aQKBhd3ToFB6WLOHkl3tE5Apek2uP9NNxwDKPumR0THSwYdM8Pwy5pcQLZN2tfaByQJCqRlMEKHYzHfD6yMcm9w/s1920/Better%20Call%20Saul.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfn92J75qG1bbqpv15EF6siYtRkfnwJETwDXaSgq5fOqjmFYVPAsSYZj_0NTyZ3uTrT2i13rByHSCoJ2QKrGCmiw8cm8TBcXmfZi1aQKBhd3ToFB6WLOHkl3tE5Apek2uP9NNxwDKPumR0THSwYdM8Pwy5pcQLZN2tfaByQJCqRlMEKHYzHfD6yMcm9w/w400-h225/Better%20Call%20Saul.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Better Call Saul</i>'s excellence always came through with such a workmanlike quietness that it was easy to take for granted how daring it was. It was a risk to make a prequel series about the comic relief who was the sixth most important character on a thriller. It was a risk to then have that show be bifurcated into two distinct storylines and not have them fully come together until halfway through the series. It was a risk to have much of the final stretch of episodes take place in somber black and white. But those risks always paid off, and led to a swan song season that felt less like a mind-blowing surprise and more like meticulously established pieces finally falling into place in a satisfying fashion. Season six, which aired in two chunks separated by a merciful seven-week break, gave viewers all the varying tools in the show's arsenal, from the slow burn of watching characters backed into corners and trying to get their way out, to episodes of white knuckle tension, to terrifically crafted self-contained detours. Endings are hard -- and I have some issues with the finale itself -- but overall <i>Better Call Saul</i> delivered an excellent final moral reckoning for the man of many names at its center.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>6. Severance (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJY9ei3VmEpu-JcIcQNF3pMmti_z4a-PbJQ0yQ7AnEAwlDpbgosGW8AIby_4cCa4oZJk11JoM7D4afOpgkZfU6-64bqn00AzUwrhhER4Qt7vm_eHjRicHbU_TPv__poggDW9r-blhSOgZ6Uzhq5QJKt9Tru8zxxZiZF1Sxo24ebLr4GVwygXPXx4G3Q/s2400/Severance.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2400" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJY9ei3VmEpu-JcIcQNF3pMmti_z4a-PbJQ0yQ7AnEAwlDpbgosGW8AIby_4cCa4oZJk11JoM7D4afOpgkZfU6-64bqn00AzUwrhhER4Qt7vm_eHjRicHbU_TPv__poggDW9r-blhSOgZ6Uzhq5QJKt9Tru8zxxZiZF1Sxo24ebLr4GVwygXPXx4G3Q/w400-h225/Severance.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Severance</i> comes out of the gate with one of the most ingenious setups in recent sci-fi memory: a biotech company offers an opportunity for some of its workers to develop the perfect work-life balance, implanting a chip in their brain that causes them to forget everything about their outside life once they're at work and everything that happens at their job the moment they leave the premises. A great setup isn't everything, however, and thankfully the show doesn't fumble the ball in executing that premise. Much of its debut season explores the sinister implications of a company who would want to do this, and the kind of people who would agree to this procedure that essentially makes them two distinct individuals. Sporting confident direction, locked-in performances from the entire cast, and a brilliantly antiseptic production design that sells the eeriness of Lumon's corporate hell, this season juggles excellent world building with tantalizing reveals, all while never losing sight of deepening its characters along the way. Just when it seemed like the mystery box show was dead in the water as a concept, <i>Severance</i> has jolted it back to life.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>5. The Marvelous Mrs. Maisel (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOtGs8QKKmq-V4ZyJSRy3LMvJ4KlItw_FoKlF790cwUiyLc2JCa_sXuPVg8cmWRuyM_02lHVCGwQF4NhNF9bgvB_IMzLAhdqBZLl4GsFMRQjLcbuIyteNwYr9p1QDcyxm56l-0nfEPrPzoQUm994Hz8B-wGwXpceDgF4CIGccTHN-2vAKx_aP_3fyK0w/s3900/The%20Marvelous%20Mrs.%20Maisel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2600" data-original-width="3900" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOtGs8QKKmq-V4ZyJSRy3LMvJ4KlItw_FoKlF790cwUiyLc2JCa_sXuPVg8cmWRuyM_02lHVCGwQF4NhNF9bgvB_IMzLAhdqBZLl4GsFMRQjLcbuIyteNwYr9p1QDcyxm56l-0nfEPrPzoQUm994Hz8B-wGwXpceDgF4CIGccTHN-2vAKx_aP_3fyK0w/w400-h266/The%20Marvelous%20Mrs.%20Maisel.jpg" width="450" /></a></div><div style="text-align: left;">Four seasons in and it still feels like a miracle that Amy Sherman-Palladino, queen of modestly budgeted charmers like <i>Gilmore Girls </i>and <i>Bunheads</i>, has been given buckets of money to make <i>The Marvelous Mrs. Maisel</i>. Between the candy-coated costumes, the gorgeous recreation of 1960s New York, and the elaborately staged long take sequences, the money and the time is all up there on the screen, and never stops being a sight to behold. The writing doesn't drag behind either -- after minor cracks in the storytelling of season three, the series was back to its perfect calibration of antic energy and character drama that sneaks up on you with its potency. Picking up after Midge gets kicked off of Shy Baldwin's tour, season four explores her adjusting to a career in flux, as she finds work as an emcee at a burlesque club. This new set of circumstances is used as another vehicle to examine the show's love of all types of performance and screwball comedy scenarios. After another great string of episodes, <i>The Marvelous Mrs. Maisel</i> finds itself in a great position to close things out with its final season next year.</div><div style="text-align: left;"><br /></div></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>4. The Rehearsal (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBzAPnFeWyybUoWuaVS7kBIaCquMztGcV3Q3isqzK8WoEzC2vqFbobQ8YCKTWUK4gzuo26vIcPfQNlOvzB2y9MrsNUL52sTGzD3LN4x5WDB8R_pjW-qIRNOilsOVhcwukeGul1yvgx9anNFlUFq-ZXiDyows85xB1UelTNUd2yL_5r63Rx70jdnIlvw/s1920/The%20Rehearsal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBzAPnFeWyybUoWuaVS7kBIaCquMztGcV3Q3isqzK8WoEzC2vqFbobQ8YCKTWUK4gzuo26vIcPfQNlOvzB2y9MrsNUL52sTGzD3LN4x5WDB8R_pjW-qIRNOilsOVhcwukeGul1yvgx9anNFlUFq-ZXiDyows85xB1UelTNUd2yL_5r63Rx70jdnIlvw/w400-h266/The%20Rehearsal.jpg" width="450" /></a></div></div><div style="text-align: left;">Something that was missing in far too many conversations about <i>The Rehearsal</i> was talk about how funny it is. Like Comedy Central's <i>Nathan For You</i>, the previous brainchild of Canadian cringe comedy extraordinaire Nathan Fielder, his latest arrives upon so many philosophical, mechanical, and ethical questions that it can be easy to get lost in unpacking them. Equipped with an HBO-sized budget and a maniacal sense of escalation, Fielder takes a simple premise -- "what if you could meticulously rehearse important events in your life before they happen?" -- and uses it as a springboard into a rabbit hole of detours and new wrinkles that cause us to question the reality of the project and whether it should've been made at all. But again, it should never be forgotten that this is a hilarious show and not just a stuffy intellectual exercise. Fielder has a gift for always finding the most fascinating people, the kind that have such distinct idiosyncrasies that you can't make them up, and using his quietly sinister demeanor to push the story into directions that produce eye-watering, wheezing laughs. The fact that <i>The Rehearsal</i> can explore the limits of control over one's art and the moral responsibility creators have on the art they're making, <i>while</i> being the funniest thing on television is no small feat.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>3. We Own This City (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8XgFqAvzPnAT-lCJ-iY_QFmH6bnCEZgIDFxKeYBAR7rxfZ1kOd0f_8T8Xcp_z6SD1UvC64XmLDVUXtY032MFjmqXfOwF2Os1IOk3IdVWdF4AyflCQUS_TLjWVkDnL-UqKBef16JOYGw1Lq87XSzbvYPzTIF4tDErRYylwveVgEU8gC-lmFv2yzXU5GQ/s1920/We%20Own%20This%20City.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8XgFqAvzPnAT-lCJ-iY_QFmH6bnCEZgIDFxKeYBAR7rxfZ1kOd0f_8T8Xcp_z6SD1UvC64XmLDVUXtY032MFjmqXfOwF2Os1IOk3IdVWdF4AyflCQUS_TLjWVkDnL-UqKBef16JOYGw1Lq87XSzbvYPzTIF4tDErRYylwveVgEU8gC-lmFv2yzXU5GQ/w400-h225/We%20Own%20This%20City.jpg" width="450" /></a></div><div style="text-align: left;">David Simon and George Pelecanos already created the definitive statement on Baltimore and its infrastructural woes in the 2000s with <i>The Wire</i>, a consensus pick for one of the greatest shows of all time with good reason. Think of <i>We Own This City</i> as an addendum, using a years long investigation into the corruption of the Baltimore Police Department's Gun Trace Task Force to explore the problems fictionalized in<i> </i>its spiritual predecessor and how much worse real life has gotten since then. And though it focuses solely on the police, it digs deep and provides a holistic view of the flaws in the system, chronicling all the different ways that failure is upheld. It's a series that wrestles with itself, depicting the inherent conflict of policing as an evil concept but also being enamored by how cinematic "good" policework looks. On paper that seems more like a dissertation than television, but what makes Simon and Pelecanos masters of their craft is that they understand the contours of drama and structure enough to examine those ideas while also making riveting, emotionally devastating storytelling.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>2. The White Lotus (HBO)</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjZaWLgwj_ZcmMKLxTreM8kup3cPtosdfJoWT3uLZ75RNwv9Xyl--xmOPfISZaoAQb-WT99fmnp8iaQZBbPmMgevBFAkYQ5FBX94ZyipHlnYLYHrxcaop8eoQnfZqA0XaBYGjKP80PJNvpswl-vLrsER-rrfNqGWM1OiFLNI9bz5eihIeFyHD-IsSjwQ/s1296/The%20White%20Lotus.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjZaWLgwj_ZcmMKLxTreM8kup3cPtosdfJoWT3uLZ75RNwv9Xyl--xmOPfISZaoAQb-WT99fmnp8iaQZBbPmMgevBFAkYQ5FBX94ZyipHlnYLYHrxcaop8eoQnfZqA0XaBYGjKP80PJNvpswl-vLrsER-rrfNqGWM1OiFLNI9bz5eihIeFyHD-IsSjwQ/w400-h225/The%20White%20Lotus.jpg" width="450" /></a></div><div style="text-align: left;">Because season one of <i>The White Lotus</i> was a social satire, it primed people to think that's the only mode the show operates in, which led to many early reactions critiquing season two for not being "about anything." The reality is that the Sicily-set second season was intentionally looser, eschewing obvious political points for a shaggier examination of love, loneliness, and the different ways we define happiness. Season two was a season of transactions, most notably in the myriad storylines where sex is used as some form of currency, but also in the smaller ways people negotiate and compromise to eke out a little bit of satisfaction in their lives. <i>The White Lotus</i> continues to be a show that entertains on two fronts. If you just want surface pleasures, it's all there in the gorgeously filmed locales, wonderfully arch dialogue, and ping-ponging storytelling breadth. But crack that shell to reveal hidden depths in its writing, from the emotionally complex turns that every story takes, to the richly observed intricacies of its characters. So much of television is straightforward in its characterization that its rare to see a show like this, where people are animated by eight different layers of motivation, just like in real life. Writer-director Mike White has managed to capture lightning in a bottle twice in a row now. I was hesitant when season two was first announced, but now I'm willing to sit back and trust one of the millennium's great creators.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>1. Atlanta (FX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgROZ4vkJ3exCrccJ_PbQxFDHJ4manIEUcgq1fVhOfE_mmHhYSA7KqikqXhrsYhJZ7AhGoMaL9liI-mk1o69tkUnrqJZPzOZaIJd-4KnHVahffnuvl-PTRn83WNNqc6ICL0mRmXy_941z55-jX2Iz_mp5dtJOT5HGdeYIgkbKRSHNy2q2Uar7f6Ti_Lyg/s1200/Atlanta.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgROZ4vkJ3exCrccJ_PbQxFDHJ4manIEUcgq1fVhOfE_mmHhYSA7KqikqXhrsYhJZ7AhGoMaL9liI-mk1o69tkUnrqJZPzOZaIJd-4KnHVahffnuvl-PTRn83WNNqc6ICL0mRmXy_941z55-jX2Iz_mp5dtJOT5HGdeYIgkbKRSHNy2q2Uar7f6Ti_Lyg/w400-h266/Atlanta.jpeg" width="450" /></a></div></div><div style="text-align: left;">I love <i>Atlanta</i> for the same reason I've loved rap music all of my life. More so than any other genre of music, rap rewards a level of built-in knowledge of various subjects that the listener brings into it. It's such a referential style of music that the more you know about sports, drug slang, street life, movies, television, Black culture, and even the history of rap itself, the more likely you are to "get" it. A song may have a line that you don't fully understand the first 20 times you listen to it, but then you gain some new life experience or ingest more culture and all of a sudden on the 21st listen, the lightbulb flickers on. (Part of the reason why I resent sites like Genius a little bit is because they are shortcuts to experiencing the joy of discovery that I describe, but that's an essay for another time.) Can you listen to rap music for the beats and the flows and still love it? Of course. But there's always that added layer of enjoyment waiting for you.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Throughout its immaculate four-season run, but particularly in the two seasons that aired this year, <i>Atlanta</i> functioned in a similar fashion. Do you need to have seen <a href="https://www.youtube.com/watch?v=RcfXAOp1djg">the video</a> of a bunch of children finding out they're going to see <i>Black Panther </i>to enjoy the season three premiere, which contains a scene that directly pays homage to it? Is it mandatory to remember <a href="https://www.cnbc.com/2018/01/08/hm-slammed-for-racist-monkey-in-the-jungle-hoodie.html">when H&M unwittingly perpetuated racial stereotypes</a> with their campaign that featured black people wearing monkey shirts to laugh at the episode "White Fashion"? Did you need to recognize Tom Hanks' goofy son Chet playing the white guy in "Trini 2 De Bone" who spoke patois in a way that Chet himself has <a href="https://metro.co.uk/2020/12/03/chet-hanks-defends-jamaican-accent-accused-gaslighting-black-people-clubhouse-13694166/">regularly been criticized by the Black community for doing</a>? The answer to all of these is no, but what makes <i>Atlanta </i>special is that the reflections and cultural conversations are buried in there all the same for those who want to engage with it.<br /><br />Although <i>Atlanta</i> sadly had to come to an end this year, it did so in splendid fashion, blessing us with two seasons and 20 episodes worth of television that was endlessly flexible and always surprising. <i>Atlanta</i> operated in so many modes this year: it could give us unpredictable standalones that don't even feature the main cast, surreal flights of fancy, <i>Twilight Zone-</i>esque social parables, low-key slice of life observations, and a half hour that simultaneously functioned as the funniest episode of television and also a hood horror tale in the form of "Crank Dat Killer." Some might have struggled with season three's constant shifts, but its freewheeling nature and mission to tackle its usual ideas about race and fame through a Eurocentric lens was thrilling. Plus, it made season four's warm return to home all the more satisfying. In the end, the show concluded as it always was: uncompromising in challenging the notions we have about what TV is supposed to be.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Well, that wraps things up for my best shows of 2022 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! To see a complete inventory of all the TV I watched this year (with even more rankings), you can find it on <a href="https://docs.google.com/document/d/1hwT2fFH8gEeVpnpBcPyFX9eAzCkV6Ipt7DIEJ53AxUI/edit?usp=sharing">this Google Doc</a>.</div><div><br /></div><div><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2021/12/my-20-favorite-television-shows-of-2021.html">2021</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-television-shows-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-television-shows-of-2019.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-television-shows-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-television-shows-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-television-shows-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-television-shows-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-television-shows-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-television-shows-of-2013.html">2013</a></div></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com4tag:blogger.com,1999:blog-2395748504986705619.post-57215291545786711052022-12-30T00:01:00.254-05:002023-12-30T12:14:41.503-05:00My 20 Favorite Films of 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLAxru32KsjsQz8poAmFUALw9Sivo7WQM9VSqIl-x3egEYC0VksqfgHjDzHN0fmgi4K5oTUXuyMbpcpBXpwO2_-nlQ8vwXaFAoWYS1cbyP5WgofyBmVB-ipOuhO1eFt89odTSffSdPGlJY2nFZChOHMqFBqLnYeWbrqsb5l0bsF_HXpfvMZTrIltJYLQ/s612/Best%20of%20film%20picture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="612" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLAxru32KsjsQz8poAmFUALw9Sivo7WQM9VSqIl-x3egEYC0VksqfgHjDzHN0fmgi4K5oTUXuyMbpcpBXpwO2_-nlQ8vwXaFAoWYS1cbyP5WgofyBmVB-ipOuhO1eFt89odTSffSdPGlJY2nFZChOHMqFBqLnYeWbrqsb5l0bsF_HXpfvMZTrIltJYLQ/w400-h270/Best%20of%20film%20picture.jpg" width="500" /></a></div><br /><div style="text-align: left;">Without a doubt, the biggest complaint about my film lists from the past few years was the choice to reduce the total amount of films from 20 to 15. Who are these people that still read a Blogspot page in an age where everybody has moved over to Medium or Substack, and are engaged enough to lodge formal complaints? Don't worry about it, just know that they're 100% real and numerous and pissed.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well you can delete those death threats you were in the middle of writing for the third year in a row, because the top 20 is back! I was surprised to learn when tallying up the 2022 films I watched that the total was less than what I watched in 2021, which was 65 compared to last year's 69. Despite that decrease, I felt better about this year's output, which had enough quality cinema that I never felt like I had to waste much time with the streaming slop and second-tier blockbusters that we always get. (Please ignore the fact that I saw <i>Black Adam </i>in theaters on its opening weekend.)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">As has been the case for the last few years though, the future of cinema still seems pretty bleak. Alot of films toward the top of my list barely made a dent at the box office -- with one of them being a flop of epic proportions -- so who knows how long we'll get the amount of interesting movies that we got in 2022. Let's celebrate them while we can.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> Any film that got their first non-festival release in 2022 -- whether that's theatrically, on VOD, or exclusively on a streaming service -- qualifies for this list.</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Honorable Mentions (25-21)</b></div><div style="text-align: left;"><i style="font-weight: bold;">Sharp Stick</i> may be 2022's most fascinating film -- not every idea in Lena Dunham's deeply strange sexual awakening dramedy works, but its eccentricities and clearly personal touches are often transcendent. The MCU system doesn't usually allow for directorial vision, which is what makes the Raimi touches of <i style="font-weight: bold;">Doctor Strange in the Multiverse of Madness</i> even more of a hoot. Speaking of the MCU system, <i style="font-weight: bold;">Black Panther: Wakanda Forever</i> is another success within its constraints, delivering a messy but moving story of how the people in power win when they're able to turn oppressed classes against one another. A documentary that feels more like an espionage thriller, <i style="font-weight: bold;">Navalny</i> tells the unbelievable story of Alexei Navalny, a Russian opposition leader who survived an assassination attempt from the Putin regime. <i style="font-weight: bold;">Inu-Oh</i> is another creative visual feast from the great animation auteur Masaaki Yuasa.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>20. X (Directed by Ti West)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxF4rbuHLfQofhjlCoBKYVC05tanrA1FcYudaTY6KVH8m3OUz33M2kiGwa8HKuf1R8RaNeeBfeY_Bl-h7Ngyaqe17L92SqwIMjLy_t7MEcIs_reDkTjKc34uF8Z5iojzPGelvS3AVRAJiiGxx92ox8NhJZF6a6WVqr-k_rcw2S1bcpDHGHy0lB5GmeQ/s2500/X.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1319" data-original-width="2500" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxF4rbuHLfQofhjlCoBKYVC05tanrA1FcYudaTY6KVH8m3OUz33M2kiGwa8HKuf1R8RaNeeBfeY_Bl-h7Ngyaqe17L92SqwIMjLy_t7MEcIs_reDkTjKc34uF8Z5iojzPGelvS3AVRAJiiGxx92ox8NhJZF6a6WVqr-k_rcw2S1bcpDHGHy0lB5GmeQ/w400-h211/X.png" width="450" /></a></div><div style="text-align: left;">Though he's been eclipsed by a new breed of filmmakers, Ti West was once declared by many as the new face of horror around the time of his modest but moody early work like <i>The House of the Devil</i> and <i>The Innkeepers</i>. After a period of inactivity, he came back to reclaim the throne this year with two films, starting with <i>X</i> and continuing with its prequel <i>Pearl</i>. I prefer the grimy 70s exploitation style of the former over the Classic Hollywood pastiche of the latter, but when taken together it was a remarkable 2022 for West. <i>X</i> quickly reminds you that he's one of the best at establishing mood and generating tension, able to immerse you in its setting and have you under its control way before things even get gnarly. It's also got a sly storytelling streak, using its premise of an amateur film crew staying on a sketchy farm to shoot a porno as a way of providing a meta examination of the role sex plays in horror films. <i>X</i> is a total blast, and a wonderful antidote to the turgid genre films about grief we're always getting lately.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>19. The Batman (Directed by Matt Reeves)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiee3P6EsNChH2hHHBXUCe1o-wZAcGWlhqEXUohkE4UDWq8fMmeM8yNKIWcUVUD394M3f_OnSjkf392Y7CxQh9lcudA_ZiJur0xapmnHoMImp2VWH-QGPKgHly7WlusyeB7BsVyaGZNjJQDgb6yV5mebdlVq3XA8Yfb1yDojvNCzcaQggnJ-jmIT6SFGA/s1600/The%20Batman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="901" data-original-width="1600" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiee3P6EsNChH2hHHBXUCe1o-wZAcGWlhqEXUohkE4UDWq8fMmeM8yNKIWcUVUD394M3f_OnSjkf392Y7CxQh9lcudA_ZiJur0xapmnHoMImp2VWH-QGPKgHly7WlusyeB7BsVyaGZNjJQDgb6yV5mebdlVq3XA8Yfb1yDojvNCzcaQggnJ-jmIT6SFGA/w400-h225/The%20Batman.jpg" width="450" /></a></div><div style="text-align: left;"><span>We've gotten so many big screen interpretations of Batman, but somehow we've never had one that really focuses on the "World's Greatest Detective" aspect of his lore. Finally, that box got checked off early this year with the three hour glower that is Matt Reeves' <i>The Batman</i>. This version shoots for David Fincher in <i>Se7en</i> or <i>Zodiac</i> mode, and while it doesn't quite reach those lofty heights, it lands close enough to feel impressive for a superhero film. There's a grit here that's different from Christopher Nolan's grounded vision, more noir-soaked in both look and tone, as we follow Batman doing investigative work and intel gathering more than we see him beating up baddies. The action scenes that do appear certainly pop, but even those have a muted gloom. It's a refreshing take that sustains its mood without blinking. With <i>Dune</i> and now <i>The Batman</i> -- this trend of blockbusters that dare to be ponderous is something we hopefully see more of. </span></div><div style="text-align: left;"><span style="font-weight: 700;"><br /></span></div></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>18. Avatar: The Way of Water (Directed by James Cameron)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVWIt43SxcZSqre64Am-4I-gwqRnbU5O--_6LkTiYStOF_sycr0wzyWXjSyViPGjLgDPMvJut-8v3-ejzXwc-Vlad09HS4IbcnVRun3przkW1ZgaYW84_JBZD8oOH3TEEar5Dent3Zl4HA_ktAMvlxs0w9aNuUJXWXwaxWCxMs4T_815I4GlDRo4THw/s1296/Avatar%20The%20Way%20of%20Water.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEVWIt43SxcZSqre64Am-4I-gwqRnbU5O--_6LkTiYStOF_sycr0wzyWXjSyViPGjLgDPMvJut-8v3-ejzXwc-Vlad09HS4IbcnVRun3przkW1ZgaYW84_JBZD8oOH3TEEar5Dent3Zl4HA_ktAMvlxs0w9aNuUJXWXwaxWCxMs4T_815I4GlDRo4THw/w400-h225/Avatar%20The%20Way%20of%20Water.jpg" width="450" /></a></div><div style="text-align: left;">Well folks, James Cameron did it again. After 13 years of him toiling away on a sequel, the internet's countless digital ink spent on whether the <i>Avatar</i> franchise is culturally relevant, and a pandemic precipitating the collapse of moviegoing, James Cameron kept his eyes on the prize and delivered the goods with <i>The Way of Water</i>. This is a sequel that surpasses the original in every way, offering a grand epic that pushes the medium forward technologically and gives viewers a handful of the year's most rousing sequences of visual grandeur. In an age where blockbusters all have the same snarky, quippy edge, <i>The Way of Water</i> reminds us that there's a place for melodrama and sincerity in the filmgoing experience. This is a movie that devotes a large chunk of its over three-hour runtime to the politics and history of a herd of space whales, and though that sounds silly, it's that commitment to detail and ritual that makes the world of Pandora so unique. Plus, when the time calls for it, Cameron reintroduces himself as one of the best action filmmakers alive, giving the last hour away to<span> </span>some truly thrilling, kinetic, and massive setpieces that make full use of the film's jaw-dropping 3D and high frame rate. Not everything works, but not everything needs to, especially when <i>The Way of Water</i> presents us with so many things we've never seen before.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>17. Benediction (Directed by Terence Davies)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTQA-PBk87HtWxNU8__SCJwl_8M3lTtUQ_WCZo8BWuFrzuqAaebFs6P43DpDCOwRvpYrP11iCNM5WaypeppesJi3ppgw_d2vFpL5YZPdp1rJiETr65WQXoulkVcp2E24o6wOXnSCk5-6SwsQBd71Kpok6vZl4btn677bNKL6uKF0mpmktshh6xJethQ/s1024/benediction.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1024" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTQA-PBk87HtWxNU8__SCJwl_8M3lTtUQ_WCZo8BWuFrzuqAaebFs6P43DpDCOwRvpYrP11iCNM5WaypeppesJi3ppgw_d2vFpL5YZPdp1rJiETr65WQXoulkVcp2E24o6wOXnSCk5-6SwsQBd71Kpok6vZl4btn677bNKL6uKF0mpmktshh6xJethQ/w400-h266/benediction.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Benediction</i> makes for Terence Davies' second film in a row about a poet after 2016's Emily Dickinson biopic <i>A Quiet Passion</i>, this time about British war poet Siegfried Sassoon. And like <i>A Quiet Passion</i> before it, this film sheds off the self-importance of the usual films of its ilk, instead tracing a jagged line through Sassoon's life, which included serving in World War I, dalliances with men, and his eventual marriage to a woman followed by a conversion to Catholicism. Being Davies' first explicitly gay text allows him to bring to the forefront ideas that are usually only bubbling under the surface of his other work, and he also cuts loose with the dialogue, which is lively with sniping barbs and sharp witticisms. But those lighter moments give way to moments of quiet agony, as Sassoon is constantly left to ponder what it means to live on in a world where his first love and even his brother died in a war he somehow survived. At first those two clashing tones seem at odds to the film's detriment, but the shattering finale coheres everything together in a way that feels revelatory. <i>Benediction</i> is a film that only gets stronger the longer its sorrow sets in.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>16. Armageddon Time (Directed by James Gray)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlzO3t2YhTgUXU3XGGKky1zY3IDSv2Vym-jh2G1CviRYncZbraeAauuRM3hLChJCcjP19PD6yVJjkSj83fO4eNPwFwl3bS7FTkdVxGvarIGMaRdk12mXlNkg3YmmsCsOprLEFMiAvmcMBRT-wyNBQ5htmOXmBm2UBFmuEQpzEEAcmbEeeVjEQ6MFENA/s1280/Armageddon%20Time.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="854" data-original-width="1280" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlzO3t2YhTgUXU3XGGKky1zY3IDSv2Vym-jh2G1CviRYncZbraeAauuRM3hLChJCcjP19PD6yVJjkSj83fO4eNPwFwl3bS7FTkdVxGvarIGMaRdk12mXlNkg3YmmsCsOprLEFMiAvmcMBRT-wyNBQ5htmOXmBm2UBFmuEQpzEEAcmbEeeVjEQ6MFENA/w400-h268/Armageddon%20Time.jpg" width="450" /></a></div></div><div style="text-align: left;">When filmmakers make films about the era they grew up in, there's always an impulse to have it tinted with a heavy nostalgia, which makes it all the more impressive that <i>Armageddon Time</i> is so devoid of that. Though the 80s-set coming-of-drama from James Gray is heavily informed by his own childhood, and it does feel like it's comprised of moments and details from one's upbringing that you never forget, it's refreshingly sober while doing so. That's because <i>Armageddon Time </i>has heavier things on its mind, examining the difficulties that come with being a middle class Jewish-American family who left anti-Semitic hate in Europe only a few generations ago. What does it mean for a change of last name to bring you closer to assimilation when other marginalized groups have skin colors they can't change? And what is your obligation to those on lower rungs of the ladder? These are some of the ideas the film wrestles with, and with an eye to the cusp of the Reagan era, it doesn't provide easy or comforting answers. Gray is not a name that casual audiences recognize, but he's beloved amongst a certain section of cinephiles, and his latest does nothing to dissuade us of his greatness.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>15. T</b><span style="text-align: left;"><b>ÀR (Directed by Todd Field)</b></span></div><div style="text-align: center;"><span style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsQTLzO0j9dC0ALETvD-CUhh21ffEmNQqESYQLYafHYXzFp-ID60o5TI9ve4CqIBq0tKUkpbNZ0xMc7Es186O7ExD-V69icih9XG53wP1vXnSE3DXztu32he7-zmtTVrW2dtrwxVuSixwfIVUH7Mb03Arf4KexbfemtAOE5rZvHvzIOHOmKG81Inj_w/s1280/Tar.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsQTLzO0j9dC0ALETvD-CUhh21ffEmNQqESYQLYafHYXzFp-ID60o5TI9ve4CqIBq0tKUkpbNZ0xMc7Es186O7ExD-V69icih9XG53wP1vXnSE3DXztu32he7-zmtTVrW2dtrwxVuSixwfIVUH7Mb03Arf4KexbfemtAOE5rZvHvzIOHOmKG81Inj_w/w400-h225/Tar.jpg" width="450" /></a></div></span></div><div style="text-align: left;">There's a reason why so many people came out of <span style="font-style: italic; text-align: center;">T</span><span><i>ÀR</i> thinking that Lydia Tàr, the esteemed composer at the center of writer-director Todd Field's first film in 16 years, <a href="https://www.thecut.com/2022/10/lydia-tar-is-not-real.html">is a real person</a>. Cate Blanchett does such deep, thorough work fleshing her out as a character, and along with the tactile direction from Field and the detailed sense of history the script gives her life, it's hard for some to think of these events as being imagined. Set in the classical music world yet anything but removed, </span><span style="font-style: italic; text-align: center;">T</span><span><i>ÀR </i>is concerned with a problem we have to reckon with frequently these days: talented artists who commit improprieties, and the consequences they do or don't face. However, the film is less interested in screeds about cancel culture than it is in this specific character study about power, control, and guilt. Todd Field's direction is absorbing in its austerity and habit of luxuriating in scenes, until it disrupts the viewer with quick jolts of strangeness and surreality. It's indicative of what makes the film so alluring, that ability to keep you on your toes both intellectually and morally.</span></div><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><span><br /></span></div>
<div style="text-align: center;"><span><b>14. Prey (Directed by Dan Trachtenberg)</b></span></div><div style="text-align: center;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwwnr8f-aagnHvv8NKqAFQofNx9zPU_N1JbiCw6_cCug-FxOkB7xtVb5UzJbYwSgQ4iS9_kdh-QqAfaG8IwzFyFl1tp-7qezdd2N87w44scg9Ic0SBqD2QrXvbYwzsvdJiicCMZBE_0HpCfbwLWfBGbPBUBjjLuBiBwTduwfbSk8SsjrBxmyZ5IaYJdw/s1800/Prey.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwwnr8f-aagnHvv8NKqAFQofNx9zPU_N1JbiCw6_cCug-FxOkB7xtVb5UzJbYwSgQ4iS9_kdh-QqAfaG8IwzFyFl1tp-7qezdd2N87w44scg9Ic0SBqD2QrXvbYwzsvdJiicCMZBE_0HpCfbwLWfBGbPBUBjjLuBiBwTduwfbSk8SsjrBxmyZ5IaYJdw/w400-h266/Prey.jpg" width="450" /></a></div></span></div><div style="text-align: left;"><span>It's so hard to get original ideas made these days that sometimes the best chance you have is to sneak one into already existing IP. Director Dan Trachtenberg knows that game well, having already done so with his feature length debut <i>10 Cloverfield Lane</i>, which functioned like a tense chamber drama that just happened to be in the <i>Cloverfield</i> universe. Similarly, <i>Prey</i>'s early 1700s setting and focus on Comanche nation characters is such a rich milieu that it almost doesn't need everyone's favorite dreadlocked space hunter. Of course, it's all the more fun because of that juxtaposition between the Predator's advanced tech and main character Naru making the best with her limited means, but formidable skill. This a lean film, light on dialogue because it knows that the best way to convey information in a story like this is visually, and it does so both in moments of downtime and in the many rollicking action sequences. The latter are the real highlight, thanks to their legibility, impactful framing, and advanced understanding of geography. All of these elements come together to make <i>Prey</i> an absolute romp. Obviously, most cinephiles want truly unique stories that are untethered to IP, but Dan Trachtenberg is doing fantastic work within the confines of the franchise system.</span></div><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><span><br /></span></div>
<div style="text-align: center;"><span><b>13. Decision to Leave (Directed by Park Chan-wook)</b></span></div><div style="text-align: center;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNXLqdWDY1gEzQZMzxZ2n_2adQOY2cQKbw_evguUcG_pwT1bODcQNOKPRxt7kZysUxFDSZYT7Zqgn_qHNpRhFchJKLpS9Aw40ge7fZtdyqg_q_MHMLfoiJA92rxgsglJOGAigb2UEt0sAaWpIwS8hEULUdxJGGlA3Xl5_C5Rs-PIjcxgUNmkmbr5cKg/s2691/Decision%20to%20Leave.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1720" data-original-width="2691" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNXLqdWDY1gEzQZMzxZ2n_2adQOY2cQKbw_evguUcG_pwT1bODcQNOKPRxt7kZysUxFDSZYT7Zqgn_qHNpRhFchJKLpS9Aw40ge7fZtdyqg_q_MHMLfoiJA92rxgsglJOGAigb2UEt0sAaWpIwS8hEULUdxJGGlA3Xl5_C5Rs-PIjcxgUNmkmbr5cKg/w400-h256/Decision%20to%20Leave.jpg" width="450" /></a></div></span></div><div style="text-align: left;">It's hard to even know where to begin with <i>Decision to Leave</i>, a film so chock full of narrative turns and visual tricks that it's nearly overwhelming. But that's par for the course with Park Chan-wook, who puts more skill and ideas into one film than most filmmakers can dream of across the span of their whole careers. This twisted romantic mystery throws <i>Vertigo</i>, police procedurals, and trashy thrillers into a blender to make something that feels completely of its own, weaving a tale of desperation and deception that's a slow burn but never anything less than riveting. That's due to Park's peerless command of the frame, constantly finding new ways to put the audience in its characters' POV or energize standard storytelling devices. Some filmmakers lose a step when their youthful abandon slips away, but <i>Decision to Leave</i> proves that Park Chan-wook's transition to more reserved, mature dramas is a great fit for him.</div><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><span><br /></span></div>
<div style="text-align: center;"><span><b>12. Jackass Forever (Directed by Jeff Tremaine)</b></span></div><div style="text-align: center;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDB8cPlBwqIxEZL6fhS7EBxXhlP4D7iyyWLf2dtMWQOeRitmdofrhMC38zzhv9M7qXd89XblvuJtUGSRN6hfWuTKguz1CNpQBhyHSZHrPT8mBvuIlXOvYE1APRb5h_iUFerB3D__oHQ62rkBkOdaBqc15l3BjL4s54xLMfC0ufVHhfD64SUGWoLi6HQ/s3000/Jackass%20Forever.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1688" data-original-width="3000" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDB8cPlBwqIxEZL6fhS7EBxXhlP4D7iyyWLf2dtMWQOeRitmdofrhMC38zzhv9M7qXd89XblvuJtUGSRN6hfWuTKguz1CNpQBhyHSZHrPT8mBvuIlXOvYE1APRb5h_iUFerB3D__oHQ62rkBkOdaBqc15l3BjL4s54xLMfC0ufVHhfD64SUGWoLi6HQ/w400-h225/Jackass%20Forever.jpg" width="450" /></a></div></span></div><div style="text-align: left;">From the silent film gags of Buster Keaton, to the creative choreography of Jackie Chan, to the death-defying thrill seeking of Tom Cruise, some of the most memorable cinema of all time involves artists putting their bodies on the line for the sake of public entertainment. When you think of it that way, the <i>Jackass</i> franchise doesn't seem so lowbrow. The fourth -- and hopefully, for their sake, final -- installment in the film series is another celebration of the power of human punishment, and it hasn't lost any of its appeal in the decade-plus since the last entry. What elevates these films is that they're not just empty carnage -- many of the stunts are held up by clever comedic premises, and watching the creative ways the crew tries to up the ante is a joy to behold. Some of the stakes are built in from the simple fact that most of the gang is either pushing 50 or on the other side of it, so the agony they put their bodies through feels even more dangerous. <i>Jackass Forever</i> also contains a surprisingly generous spirit, as seen by the comradery between the mainstays and the ease with which they welcome newer, younger members into the fold. Never has a film full of nut shots and broken bones felt so cozy.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>11. Turning Red (Directed by Domee Shi)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOwuCt5fgN8tIKC6mtuKvop2N6sO-odgW8-JvPNIrejGw7qx2lDKnjYGwdeUE-d-vorUBnuaBjzKPcym0D2UN7WtTKKj5DC_o1T6R7HkYl9zzzEReHcipr4SXjci-H-7LSnC8xXpBL0Ul1HWlcZ9YfdqjJAsh59e1eDz2U6mBCZMA5grvHhTaGLlV7A/s1200/Turning%20Red.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOwuCt5fgN8tIKC6mtuKvop2N6sO-odgW8-JvPNIrejGw7qx2lDKnjYGwdeUE-d-vorUBnuaBjzKPcym0D2UN7WtTKKj5DC_o1T6R7HkYl9zzzEReHcipr4SXjci-H-7LSnC8xXpBL0Ul1HWlcZ9YfdqjJAsh59e1eDz2U6mBCZMA5grvHhTaGLlV7A/w400-h225/Turning%20Red.jpg" width="450" /></a></div><div style="text-align: left;">After all these years, Pixar is still putting out quality product -- though this year's thoroughly average <i>Lightyear</i> put that sentiment to the test -- but it's hard to find any disagreement with those who feel like they're not dropping constant classics like they were in their 1995-2010 stretch, or that some of their recent work can have a tech demo artificiality to it. <i>Turning Red</i> is a breath of fresh air in that regard, and if it's not as airtight as Peak Pixar films, then it's as close as they've gotten since <i>Inside Out</i> in 2015. Like that film, the movie focuses on the inner life of its teenage girl protagonist, who turns 13 and discovers a curse that causes women in her family to transform into a red panda when they experience strong emotions. The period parallels are so apparent that it can hardly be considered subtext, and <i>Turning Red </i>uses this conceit to deliver a funny and honest portrayal of the roiling feelings of adolescence and budding sexuality. Just as she did with her short <i>Bao</i> before this, writer-director Domee Shi imbues the story with an intense personal touch. Between the soft pastel color palette, the regional specificity, the cultural themes, and the gag-heavy electricity of the comedy, you could never accuse this of being focus-grouped by shareholders. It's a shame Disney relegated this special crowd-pleaser straight to its streaming service.<span style="text-align: center;"> </span></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>10. Three Thousand Years of Longing (Directed by George Miller)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizlxgUwyrV3U-2k-ZFL0do6CmYm-Jqh9uoaa-ZItw67em-ThBF6V9jIrbiZL-9SczzuhoM5048D9Rc-zGXyHayVL6jARYlURBkigmuz0zxmgfOTqaVrydwaTpEtq0EGMs9DLzhCq8haUyPuGt18fOc9RTW6liLCyuUs4Sc34v0RYf1dDoxKcRZPSaTfQ/s4500/Three%20Thousand%20Years%20of%20Longing.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2994" data-original-width="4500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizlxgUwyrV3U-2k-ZFL0do6CmYm-Jqh9uoaa-ZItw67em-ThBF6V9jIrbiZL-9SczzuhoM5048D9Rc-zGXyHayVL6jARYlURBkigmuz0zxmgfOTqaVrydwaTpEtq0EGMs9DLzhCq8haUyPuGt18fOc9RTW6liLCyuUs4Sc34v0RYf1dDoxKcRZPSaTfQ/w400-h266/Three%20Thousand%20Years%20of%20Longing.jpeg" width="450" /></a></div></div><div style="text-align: left;">After he redefined what the modern blockbuster is capable of in 2015's <i>Mad Max: Fury Road</i>, nobody could blame you for wanting its director, the septuagenarian George Miller, to spend the rest of his time on Earth satisfying our desire for exquisite action setpieces. Miller himself had other things in mind, coming back from a seven-year break with <i>Three Thousand Years of Longing</i>, a low-key exploration of storytelling, loneliness, and human folly. Untethered from traditional structure, this is a discursive film, but the oft-kilter rhythm and gorgeously warm photography makes for an intoxicating mixture. And Idris Elba's Djinn, who becomes so absorbed in the lives of the people whose wishes he grants that it often leads to trouble for him, feels like a fresh and soulful take on the character archetype. Together with Tilda Swinton doing uncharacteristically restrained work as an isolated scholar, the two of them make an engrossing pair to watch, even when there is nothing particularly exciting happening. For those who want more <i>Mad Max</i>, there is still <i>Furiosa</i> in the works. But it would be a mistake to regard this lovely film as a minor detour along the way.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>9. Top Gun: Maverick (Directed by Joseph Kosinski)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNC7TcUAvt5nuhtSqFdz6RT7629jf4PWbt4MSbJI7OYEc0o02Q3WXRo-Hyd87FhWF-t7uaJfM4GgvbvvDCIVmyqWDVOMlJgECUXuT7s8-IysR9vL-pj3HY2l9q1xvMhDu8YmiPPhUI2ysiIVvGRFIeGpx9jNBli0VeKjOtJ7u0xspAaMdq5oLwx-4jPQ/s1200/Top%20Gun%20Maverick.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNC7TcUAvt5nuhtSqFdz6RT7629jf4PWbt4MSbJI7OYEc0o02Q3WXRo-Hyd87FhWF-t7uaJfM4GgvbvvDCIVmyqWDVOMlJgECUXuT7s8-IysR9vL-pj3HY2l9q1xvMhDu8YmiPPhUI2ysiIVvGRFIeGpx9jNBli0VeKjOtJ7u0xspAaMdq5oLwx-4jPQ/w400-h266/Top%20Gun%20Maverick.jpg" width="450" /></a></div></div><div style="text-align: left;">If you start cataloguing the best blockbusters we've gotten since 2010, an obvious trend starts to stand out: many of them star Tom Cruise. Between <i>Edge of Tomorrow</i>, the last few <i>Mission Impossible</i> entries, and of course <i>The Mummy</i> (just kidding on that last one), Cruise just knows how to entertain the masses on the largest stage possible. At this point, you have to assume that it's not wise to bet against him. And it turns out maniacally pushing back <i>Top Gun: Maverick</i> until it could be enjoyed in theaters was the right move. <i>Maverick</i> is the best piece of Hollywood spectacle in years, capturing the rousing tone of the original while also injecting a newfound sense of emotional weight. The film glides along on the megawatt charm of its cast and its exhilarating setpieces, culminating in one of the most thrilling third acts in recent memory. Cinema may still be on a long, slow death march, but at least for one summer it got a defibrillator shock from our greatest showman.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>8. Men (Directed by Alex Garland)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioWGn66X-wrafVH_NGszKQQFiL8A8Y_M5EHvUSlyJQPb9S2-DAavswxNEQ7CU_5yW2XiM77j4uJbppPHvpRPE5eqwb2wbab9-NSCYQKk82CwLqapuZ_alYejIfMlGwrgE0GkqBOWuZE4t1TDjUH9KXKutrkGykBS8r_FKJ1Yb8I5BAivZB4oQ-PUIz3A/s2560/Men.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1703" data-original-width="2560" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioWGn66X-wrafVH_NGszKQQFiL8A8Y_M5EHvUSlyJQPb9S2-DAavswxNEQ7CU_5yW2XiM77j4uJbppPHvpRPE5eqwb2wbab9-NSCYQKk82CwLqapuZ_alYejIfMlGwrgE0GkqBOWuZE4t1TDjUH9KXKutrkGykBS8r_FKJ1Yb8I5BAivZB4oQ-PUIz3A/w400-h266/Men.jpg" width="450" /></a></div></div><div style="text-align: left;">Maybe subtlety is overrated. It's all there in the title of <i>Men</i>, Alex Garland's phantasmagoric folk horror film, which turns one woman's retreat to a countryside home after an intense personal tragedy into an examination of the violence and predation propagated by generations of men, perhaps starting all the way back to the Garden of Eden. There arguably isn't anything insightful in what the movie has to say about the matter, and the abstracted manner in which Garland presents these ideas makes them seem like maybe he thinks they're smarter than they actually are, but absolutely none of that matters when the blunt force of his technique overpowers you in scene after spellbinding scene. Garland has a knack for coming up with unique and freakish new horrors, which arrive at a rapid clip in the film's bugnuts finale. While <i>Men</i> may not be as intellectually stimulating as <i>Ex Machina</i> or <i>Annihilation</i>, it more than makes up for it with its pure audiovisual delights.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>7. The Banshees of Inisherin (Directed by Martin McDonagh)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC9SnKtW67tPuBwECLfxTfnkQtPr7rHwIXLENV3FKbErOZVp7_OYUxYXUvbUa2aV3PXchH83VxiwIToO4Blvjl_Oimu_L3ecvHRkukEOlabksfO0M4bXB8tycUg6W0xc86_5qmbs9iDvj1geREuxcwAta6lggmBkNMzTTctE-q2oKJCc1zjzjab0eiqQ/s2000/The%20Banshees%20of%20Inisherin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="2000" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC9SnKtW67tPuBwECLfxTfnkQtPr7rHwIXLENV3FKbErOZVp7_OYUxYXUvbUa2aV3PXchH83VxiwIToO4Blvjl_Oimu_L3ecvHRkukEOlabksfO0M4bXB8tycUg6W0xc86_5qmbs9iDvj1geREuxcwAta6lggmBkNMzTTctE-q2oKJCc1zjzjab0eiqQ/w400-h300/The%20Banshees%20of%20Inisherin.jpg" width="450" /></a></div></div><div style="text-align: left;">What's the best way to reject a person? Do you do it as harshly as possible so as to create no ambiguity? Deliver something kinder but run the risk of not conveying the severity of your feelings? Find a way to avoid it altogether and save both sides discomfort? The whole gamut of strategies get run through in <i>The Banshees of Inisherin</i>, about a man named Padraic (played by Colin Farrell) whose supposed best friend Colm (Brendan Gleeson) suddenly decides he wants nothing to do with him, citing he's never really liked Padraic. Though it may not seem so from a setup like that, this is a <i>bleak</i> film, consumed with deep despair, rage, and loneliness. Like all Martin McDonagh films, <i>Banshees</i> is a concussive cocktail of absurd black comedy, portentous imagery, and existential crises, but this time around he proceeds with a grim purpose that his film work hadn't quite reached yet. Though it may not be the most cheerful experience, <i>The Banshees of Inisherin</i> is another winner from one of cinema's most fascinating writers.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>6. Nope (Directed by Jordan Peele)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuLtTubM-q2n7CAqn9IRibSRsUe-sURWB6F2_TWarbNeu5ZkSmIQcmrU5M2vMRIwc49BP7EMfBuZnztQ2mG_CYHsUSVhN_BfqXPR0CNTsYk8QOwAQB4nlZwlENPCSUY-Qa_O6dZiBg5k59_nHyEu2rbhVfjruGLd5akhux_KNqVul4Dgeuh04sG94lg/s2560/Nope.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1867" data-original-width="2560" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuLtTubM-q2n7CAqn9IRibSRsUe-sURWB6F2_TWarbNeu5ZkSmIQcmrU5M2vMRIwc49BP7EMfBuZnztQ2mG_CYHsUSVhN_BfqXPR0CNTsYk8QOwAQB4nlZwlENPCSUY-Qa_O6dZiBg5k59_nHyEu2rbhVfjruGLd5akhux_KNqVul4Dgeuh04sG94lg/w400-h291/Nope.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>Get Out </i>was such an impeccable debut, a crowd-pleaser of the highest order, that Jordan Peele could have continued doing the same thing ad infinitum and probably would have been successful at it. Instead, he's continued to get more elliptical and challenging, first with <i>Us</i> and again with <i>Nope</i> this year. <i>Nope </i>positions itself as a big, awestruck blockbuster in the vein of <i>Close Encounters of the Third Kind</i>, but it lands somewhere more left-of-center with alien films like <i>Signs</i>. In recent Peele fashion, the film has too many ideas on its mind to be tied down to a single one, but its observations about humanity's desire to get a handle on the uncontrollable and our attraction to spectacle are the most clear and potent. Yet he's also way too much of a craftsman to resist giving viewers scenes that will take their breath away. <i>Nope</i> features some transfixing big budget imagery, and they're so elegantly composed and paced out. There are ideas in this that still linger in the mind months later, like a character's choice to repackage their childhood trauma as entertainment, or a couple of scenes of primal horror. In a cinematic landscape full of empty entertainment that dissolves as soon as it's over, it's nice to have something special like this to chew on.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>5. Kimi</b> <b>(Directed by Steven Soderbergh)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLmvVQaHSX9a8aQIqSEU5vl99TQb6xfpqaKMGyEIoI9ktjjeOj-QjkrcvJZ8nl5XyeFfzat6uiC8rwvLC4meV0Z9QxaTApVYmorPb8cd64Y6ZYRkoVFssb6xNa1qREbE4hF-5l-151fnoG6U2pcMDnFWCkFQ1uNs77eWHnMZQKGdFph996bEbNjPxpvQ/s1296/Kimi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLmvVQaHSX9a8aQIqSEU5vl99TQb6xfpqaKMGyEIoI9ktjjeOj-QjkrcvJZ8nl5XyeFfzat6uiC8rwvLC4meV0Z9QxaTApVYmorPb8cd64Y6ZYRkoVFssb6xNa1qREbE4hF-5l-151fnoG6U2pcMDnFWCkFQ1uNs77eWHnMZQKGdFph996bEbNjPxpvQ/w400-h225/Kimi.jpg" width="450" /></a></div></div><div style="text-align: left;">Leave it up to Steven Soderbergh to be the one to crack the pandemic film. Well technically he already did it in 2011 with the very prescient <i>Contagion</i>, but <i>Kimi</i> touches upon the actual real world pandemic we went through. That's not to say that it's a film About COVID, but it uses that to inform the story of its protagonist (played with effortless charisma by Zoe Kravitz), whose trauma-based agoraphobia gets exacerbated by the onset of the pandemic. When her job as a programmer for a big tech company who finds errors in their Alexa-esque smart speaker by listening to customers' audio logs causes her to stumble upon a possible violent crime, she's launched into a Hitchcockian thriller for the age of hyper-surveillance, as she tries to solve the case without actually leaving her cavernous Seattle apartment. Despite largely taking place in one location for a good portion of its runtime, the film is always imbued with life thanks to Soderbergh adopting a classical filmmaking style, and a sweeping Cliff Martinez score reminiscent of Bernard Hermann. <i>Kimi</i> has a wealth of ideas on its mind -- the creeping overreach of tech mega-corporations, the weaponization of ally-speak by those causing the most harm, the contrast between analog and digital connection -- but they never halt the film's main mission as a potboiler. Steven Soderbergh is so prolific and consistent that he's a mainstay on these year-end lists, but this is his best and most immediate work in a long time.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>4. Glass Onion (Directed by Rian Johnson)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4c394ZKH47GEtZllNJgu9gm7p0e7FqS7v_uLfEn5_qqwaWjOZMMovd79D07v6jj8WF-HNHhFmOxxUsTwqZ3p48xei53gLqrgvUcuyqzRN_GIGokfhyCwXa9lgYdK5AA7diBMlat_BuCmaO9dPfO6NMrFiVyyeQYVe9Ig37-DlMraJXPyKcVgFq_MRw/s3000/Glass%20Onion.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1687" data-original-width="3000" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4c394ZKH47GEtZllNJgu9gm7p0e7FqS7v_uLfEn5_qqwaWjOZMMovd79D07v6jj8WF-HNHhFmOxxUsTwqZ3p48xei53gLqrgvUcuyqzRN_GIGokfhyCwXa9lgYdK5AA7diBMlat_BuCmaO9dPfO6NMrFiVyyeQYVe9Ig37-DlMraJXPyKcVgFq_MRw/w400-h225/Glass%20Onion.jpg" width="450" /></a></div><div style="text-align: left;">The common line after <i>Knives Out</i>'s critical and commercial success was "I could watch a million of these movies," but was that really what we wanted? Sure, the Agatha Christie paperback mysteries it was sending up are made for multiple installments, but films are different, and it's hard to recreate the magic of a highwire act like <i>Knives Out</i> a second time. <i>Glass Onion</i> does about as well as you could imagine, delivering a sequel that isn't better, but pretty damn close to its predecessor. The mystery is certainly more intricate than last time, doubling back on itself and nesting reveals with aplomb. Genre is a concept that essentially exists for Rian Johnson to subvert, and he once again has fun playing with our expectations for whodunnits. What's even more important is that he understands that sometimes conventions exist for a reason, and knows that a dash of wit and a neat conclusion satisfy audiences for a reason. <i>Glass Onion</i> takes on a nearly impossible task and succeeds tremendously. Perhaps I <i>could</i> watch a million more of these movies.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>3. Babylon (Directed by Damien Chazelle)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2xXcCUKq-d12hYgugeYa5vz1lNKdtjnt5vxzQA8AoVtsyPSA-G0kBPxn6CPPzrhlDsZ1WY6yBGKNkVv_VfFX2vk890LaRRV6ehx0poIYL5nKJA9ZWnYnjs80QTO9wAkN2tIJa5IsGwb4leidKrYKna6GWyHEM7xdhzPyW9ZAjNCfhsvQoR0iMWvjYfA/s1024/Babylon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1024" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2xXcCUKq-d12hYgugeYa5vz1lNKdtjnt5vxzQA8AoVtsyPSA-G0kBPxn6CPPzrhlDsZ1WY6yBGKNkVv_VfFX2vk890LaRRV6ehx0poIYL5nKJA9ZWnYnjs80QTO9wAkN2tIJa5IsGwb4leidKrYKna6GWyHEM7xdhzPyW9ZAjNCfhsvQoR0iMWvjYfA/w400-h266/Babylon.jpg" width="450" /></a></div><div style="text-align: left;">When film transitioned from the silent era to talkies, it was a huge creative and technological advancement for the medium, but there were also careers that fell by the wayside because they had no place in the new order. Likewise, the franchise and IP primacy of modern movies has made many audiences happy, but in the process it has also driven out the kind of personal, auteur-driven filmmaking that many others love. In a literal sense, <i>Babylon</i> is about the former transition, but it's hard not to read it as a reflection of that latter transition -- combining to create a complicated observation on the life and death cycle of the artform. And if the film represents the last hurrah for an Oscar winning wunderkind like Damien Chazelle to make a movie this big and indulgent, then what a final curtain it is. <i>Babylon</i> is a work of pure maximalism, containing every scene you could ever think of, every tone under the sun, and every bodily fluid known to man. Its constant buzzing with motion; its desire to pack every frame with detail, gags, and bacchanalia; that's all kept in control by Chazelle's perfect sense of rhythm. Every scene has a musicality to it, rising to a frenzy before exploding on a hard stop and resetting to crescendo all over again. Whether that's exhausting or exhilarating is up to the viewer, but a wild swing that's willing to provoke such strong reactions is a cause for celebration.</div></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>2. The Fabelmans (Directed by Steven Spielberg)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibUnV-wAWr7ZmEU395sXewRPBErFUcjdyzy0esbGezDEq1AFWQ28wT7BxhXQpVU1RAFuRPFokGFWA3iYWF2jUeHlC-yMIAu4aXmaLU25FBIoTCPCfftS9aQKJc2veklyrlCqSJuS160ck6DrlxrH1Ks_FclcFIofEoWpGt7jV179HO7rtXB-B5XKPZ4A/s600/The%20Fabelmans.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="600" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibUnV-wAWr7ZmEU395sXewRPBErFUcjdyzy0esbGezDEq1AFWQ28wT7BxhXQpVU1RAFuRPFokGFWA3iYWF2jUeHlC-yMIAu4aXmaLU25FBIoTCPCfftS9aQKJc2veklyrlCqSJuS160ck6DrlxrH1Ks_FclcFIofEoWpGt7jV179HO7rtXB-B5XKPZ4A/w400-h269/The%20Fabelmans.jpg" width="450" /></a></div></div><div style="text-align: left;">Almost every Steven Spielberg film has some piece of his life in it -- knowing about how much his parents' divorce affected him as a child makes you realize that half of his work is informed by that alone -- but it wasn't until <i>The Fabelmans</i> that he went fully autobiographical. He filters his upbringing through the Fabelman family, whose oldest son Sammy develops a love of film after being frightened and amazed by the train crash scene in <i>The Greatest Show on Earth</i>. Although not without its many magical moments, <i>Fabelmans</i> transcends the "love letter to cinema" trappings by digging deeper into the power and limitations of film, as Sammy attempts to use it to process the pains of growing up to varying degrees of success. With a wise and nuanced look back at his past, Spielberg knows that movies can't stop your parents from getting divorced, but they may help you grieve it a little better. It doesn't hurt that along the way you're being indulged by a master of his craft, littering every scene with a plethora of visual grace notes and rhythmic pop. Every new Steven Spielberg film comes with the weight of it possibly being his last, so it feels like a gift that he's entered this late career hot streak with <i>West Side Story</i> and <i>The Fabelmans</i>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>1. We're All Going to the World's Fair (Directed by Jane Schoenbrun)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD4Xwq3QMfyWWMjzT1yogTeEmETRHx6wtQ1qe5UlBeOLlzCu42WHitXYtqYP3dhUFC6ss3FOaWfzH0axJn5yRXi1TG1mpJ_rpa4PjNfXxV5PciB1N3RIDAg_SUwZXwoQc9XLGZ2Ys-4sXEusvPV0UwhtIm_8LSoeHEmEF5LoCy3lZegK4cs8AXufmhXA/s1587/We're%20All%20Going%20to%20the%20World's%20Fair.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1058" data-original-width="1587" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD4Xwq3QMfyWWMjzT1yogTeEmETRHx6wtQ1qe5UlBeOLlzCu42WHitXYtqYP3dhUFC6ss3FOaWfzH0axJn5yRXi1TG1mpJ_rpa4PjNfXxV5PciB1N3RIDAg_SUwZXwoQc9XLGZ2Ys-4sXEusvPV0UwhtIm_8LSoeHEmEF5LoCy3lZegK4cs8AXufmhXA/w400-h266/We're%20All%20Going%20to%20the%20World's%20Fair.jpg" width="450" /></a></div></div><div style="text-align: left;">One of the first things I was curious about after watching <i>We're All Going to the World's</i> <i>Fair</i> was how old director Jane Schoenbrun is. This difficult-to-categorize film, which follows a teenage girl who participates in a viral trend called "The World's Fair Challenge," perfectly straddles the line between two generations of Internet. In its uncanny replication of the feeling of falling into arcane corners of the web, it recalls an "old Internet," a time when creepypastas could still feel real and you could stumble down a rabbit hole of bare-bones Geocities websites. But it also deeply understands how the "new Internet" has a way of making you feel like you have access to everything and everyone, yet still feel utterly alone. The easiest genre to slap on <i>World's Fair</i> is horror, and that is true to an extent. As much as we're loath to call something Lynchian these days, that's the only way to describe Schoenbrun's innate understanding of sights and sounds that unnerve us for reasons we can't quite put a finger on. Somehow that classification doesn't seem completely correct either though, because it doesn't capture the chasm of despair that exists at the core of the film and which belongs to something else entirely. This feels like an unearthed secret instead of a film. What a thrill it is to come across the arrival of a huge talent.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Well, that wraps things up for my best films of 2022 list. I love reading other lists, so feel free to share yours in the comments. Or if you have any thoughts on my list, then you can do that too. To see a complete ranked list of all the 2022 films I've seen this year, along with a list of my favorite performances and some other data, you can find them on <a href="https://docs.google.com/document/d/1Xxdr1yWgCfrYfcHjRCkLtvEzI7H2TBvu8K4mEpmMeoM/edit?usp=sharing">this Google Doc</a>.</div><div><br /></div><div><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2021/12/my-15-favorite-films-of-2021.html">2021</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-15-favorite-films-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-films-of-2019.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-films-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-films-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-films-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-films-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-films-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-films-of-2013.html">2013</a></div></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com2tag:blogger.com,1999:blog-2395748504986705619.post-67916928289873581902022-12-29T00:01:00.350-05:002022-12-29T00:01:00.157-05:00My 20 Favorite Albums of 2022<div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRHI7WMcRQCNXPzjWrOSdYhdmeHuYUu1rCjwLr-xTSxGcAbPVRlJE1krSevre5N1llWbHt1Ku18Nk76cGxCQzUrztawxP3v7jRYJuOypbKfJsLBms_fyZ2Sy2vEnOnRQnbI_ZvWg1zsE2HoRYFEzO3kJf2MiR2UFtmJASmuS1iZI0Ue27L_0FJ8zqCw/s2048/best%20of%20music%20picture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRHI7WMcRQCNXPzjWrOSdYhdmeHuYUu1rCjwLr-xTSxGcAbPVRlJE1krSevre5N1llWbHt1Ku18Nk76cGxCQzUrztawxP3v7jRYJuOypbKfJsLBms_fyZ2Sy2vEnOnRQnbI_ZvWg1zsE2HoRYFEzO3kJf2MiR2UFtmJASmuS1iZI0Ue27L_0FJ8zqCw/w400-h300/best%20of%20music%20picture.jpg" width="500" /></a><br /><br /></div><div style="text-align: left;">Do you know what the sound of that fanfare rising from the distance means? It's time for another rendition of my favorite albums of the year list. I've been doing this list for years now and I just realized I've never detailed my odd listening habits, which might give a little insight into the amount of albums I can and can't get to in a year. Alright, here it goes: Every Monday I make a new playlist that I tend to like to keep an hour long, usually containing one album that just came out that I'm interested in, and if that's less than an hour I'll include isolated songs from other albums I haven't been able to get around to. And without fail, I listen to that playlist once a day for seven days straight, and then it's on to the next playlist. Even if I don't end up liking the album on the given week's playlist, I stick with it or else it'll throw off my whole pattern. Obviously, I listen to albums from years past and albums from previous playlists when I have free time elsewhere, but the weekly playlist is a constant.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Is this an overly rigid method, the work of someone who may have a few screws loose? Yes, no question. But it's been working for me for over a decade. However, this year was the first time that I wondered if this method is untenable given the amount of music I want to listen to for contention on this list. With the current process I use, I can only have around 60 total albums to which I can give an ample amount of listens, and there seems to be more records that intrigue me every year. I don't know if 2022 was just an outlier, with everyone who's been holding on to releases due to the pandemic all deciding to drop material, or if this is the new normal. That's a worry for next year though. For now, let's dig into some of this year's best music.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> Everything is the same as usual. The window of eligibility for this list is anything released between January 1, 2022 and now. This list can include albums, mixtapes, EPs, and anything in between.</div><div style="text-align: left;"><br /></div><span></span><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Honorable Mentions (25-21)</b></div><div style="text-align: left;">Equal parts beautiful and exhausting, <i>Dragon New Warm Mountain I Believe in You</i> is the kind of record only a band as in sync as <b>Big Thief</b> could make. To make up for the wait we endured for <i>SOS</i>, <b>SZA </b>gifted us with 23 tracks of witty, conversational R&B music. Both members of <b>Let's Eat Grandma</b> went through their fair share of emotional turmoil in the time since their debut, and they turn it into moving, iridescent synth pop on <i>Two Ribbons</i>. <i>Labyrinthitis</i> is the 13th album from <b>Destroyer</b>, and Dan Bejar's hieroglyphic songwriting still holds a powerful sense of mystery. 2022 gave us four(!) albums from rapper <b>Boldy James</b>, my favorite of those being <i>Mr. Ten08</i>, his lush collaboration with producer Futurewave.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHRNqne_oiqSiJvuq-dufui1O46BTT29uctH1WLBMRMyLLJiq1v7TkuUuOHesX7jpqvrQs-Q4qscVDmf-MfL0NemKKjCuHJcRzEqLVPelo1T_ppduqhud9Hte7uPb5qWHolMaQ9xVmXMpprKcE2rphElvP6VvtFzAT8ahirn8qE3yrNm32MTIfczl25A/s600/Billy%20Woods%20-%20aethiopes.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHRNqne_oiqSiJvuq-dufui1O46BTT29uctH1WLBMRMyLLJiq1v7TkuUuOHesX7jpqvrQs-Q4qscVDmf-MfL0NemKKjCuHJcRzEqLVPelo1T_ppduqhud9Hte7uPb5qWHolMaQ9xVmXMpprKcE2rphElvP6VvtFzAT8ahirn8qE3yrNm32MTIfczl25A/w200-h200/Billy%20Woods%20-%20aethiopes.jpg" width="150" /></a></div><b>20. billy woods - <i>Aethiopes</i></b><div>There are few endeavors as a writer that are more difficult than trying to talk about a billy woods album, because he's undoubtedly smarter than you and his work is deeper than anything you could write about it. His raps are dense texts, laced with coded language, complex thematic ideas, and a grim profundity. From the album's title, the Nigerian film that's sampled throughout it, and the motifs in its songs, I gather <i>Aethiopes </i>is about blackness throughout the history of time, but alot of it continues to be just out of my grasp. Perhaps that's why "Wharves" is the best song, because it feels like the most clearly defined example of the album's thesis, using brutal language describing white slavers to flip the Eurocentric idea of African savagery on its head. The album is littered with references to the African slave trade and its ramifications on black lives today, often traveling time in the span of a bar, the doldrums of equatorial Africa becoming the Jeep of a drug dealer blasting <i>Tha Carter III</i>. Woods' part on "Sauvage" may be verse of the year, a dazzling feat of storytelling and idea construction that starts with "Dre shot his uncle for beating his mom / Beat the case, started 11th grade like nothing was wrong" and only gets more bleak from there. It's that awe-inspiring rapping that keeps the album from being a chore. <i>Aethiopes </i>is the medicine <i>and </i>the spoonful of sugar.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=hZVodGcsul4">Wharves</a></div><div>2. <a href="https://www.youtube.com/watch?v=h9AfzHPYJk8">Sauvage </a>(ft. Boldy James & Gabe Nandez)</div><div>3. <a href="https://www.youtube.com/watch?v=A5_bMqCZdUs">NYNEX</a> (ft. Elucid, Denmark Vessey & Quelle Chris)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYetWFkeMA-s6dbsNp8xysAl3Eq8YH8fGM3zg6zSnkcpM2iu039IViSkVZ8wrdBpPdclEntvE9iLpltEdKtyvELeMywuxQwSI3J-zgZf86jEd6aG7QZ588w8L8o3pf22lEIFHDcAoAYw4FInT5kySEPR83YD3n4djr3PfCQfNeSRLB7-ZvV3-h-p6Jcw/s1200/Snow%20Ellet%20-%20Glory%20Days.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYetWFkeMA-s6dbsNp8xysAl3Eq8YH8fGM3zg6zSnkcpM2iu039IViSkVZ8wrdBpPdclEntvE9iLpltEdKtyvELeMywuxQwSI3J-zgZf86jEd6aG7QZ588w8L8o3pf22lEIFHDcAoAYw4FInT5kySEPR83YD3n4djr3PfCQfNeSRLB7-ZvV3-h-p6Jcw/w200-h200/Snow%20Ellet%20-%20Glory%20Days.jpeg" width="150" /></a></div><b>19. Snow Ellet - <i>Glory Days</i></b><div>I don't think the emo community agrees with this statement, but 2022 felt like a weak year for the genre, especially compared to the past two years. But Snow Ellet, one of the bright stars of last year who made 2021's list with <i>suburban indie rock star</i>, was back again this year with another EP of fun-sized jams. "19" opens it up with an all-out banger -- so perfectly catchy and angsty -- singing "wish I could stay 19 for a while" halfway between winking and sincerity. "Smile Wide" then amps things up with a rubbery bassline and a buzzsaw twin guitar attack. Snow Ellet perfectly captures the tone and sound of something you'd hear on Fuse in the mid-2000s; the sneering vocals, the youthful abandon. And <i>Glory Days</i> is a masterclass of eyes-forward, surging rock songs with monster hooks that are in and out in a flash. Even when they take their foot off the gas a little bit on closer "Can't Hear the Phone," it's done with verve and color. At first it felt disappointing that we didn't get a full LP, but maybe these 5 song collections are the perfect delivery system for Snow Ellet's music.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=f1OHyucUPeM">Smile Wide</a></div><div>2. <a href="https://www.youtube.com/watch?v=wOGrBcK94Vg">19</a></div><div>3. <a href="https://www.youtube.com/watch?v=N86GPtvFSfI">Brand New</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFCKUuoGsM4H8uJDGILGzpBSXQTSlbhxvKRc9pWEeottrXIpdpy5LHXpgAfH9ag6-Obye2U8YZpJ7j7T5YUqXPonVGbZbd_-JGOZGCwgQ5Xs0uu6qIvhfUm2FNhkzgmlnXw4NVnNlHnnuund5E7yMLkqW58umr7EJ0Nbks947zmfucB2O0qzxKySvciQ/s600/Angel%20Olsen%20-%20Big%20Time.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFCKUuoGsM4H8uJDGILGzpBSXQTSlbhxvKRc9pWEeottrXIpdpy5LHXpgAfH9ag6-Obye2U8YZpJ7j7T5YUqXPonVGbZbd_-JGOZGCwgQ5Xs0uu6qIvhfUm2FNhkzgmlnXw4NVnNlHnnuund5E7yMLkqW58umr7EJ0Nbks947zmfucB2O0qzxKySvciQ/w200-h200/Angel%20Olsen%20-%20Big%20Time.jpg" width="150" /></a></div><b>18. Angel Olsen - <i>Big Time</i></b><br /><div style="text-align: left;">In 2021, Angel Olsen came out as gay to her parents and her dad died three days later, with her mother's death following a few months afterward. It's safe to say she had a pretty rough pandemic. Naturally, the album she made in the wake of such tragedy is a very interior album, preoccupied with talk of dreams and ghosts. Even the brighter songs feel flavored with foreboding. As a result, Olsen scales back the orchestral grandeur of her last album for a more rootsy, country-influenced sound on <i>Big Time</i>. And with that comes a hard-nosed wit in her lyrics that's part and parcel with the genre ("If you've ever been open, there's no way of knowin' / With the way that knowin' you has been" she sings with a smirk on the opening track). It's a good look on her. <i>Big Time</i> is an album of highs and lows -- there are tracks that rise to a big, swinging climax ("All the Good Times," "Right Now") but then there are those that float along with a simmering intensity ("Dream Thing," "All the Flowers"). In the middle of it all is that captivating warble of Olsen's, which rings with such clarity as it navigates complicated emotions. <i>Big Time</i> is another album of ethereal beauty from an artist who never misses.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=O8mZnmPy0Qg">Dream Thing</a></div><div>2. <a href="https://www.youtube.com/watch?v=6qJoUxSTQAg">Right Now</a></div><div>3. <a href="https://www.youtube.com/watch?v=hwuJchUwcI0">This Is How It Works</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpDrOWeuhG-u8k4-2N3Ds9iss2gNpEDsm5p6fx2mzbMu-K_FLoHSctlcKXanSGt3DD2N25O1bAwfNeTkphIS-o8Ov42vOBhWIiVeOcce2xJE31P7r54rFBhJW0tCnTmv4h8VcwCeC2JMxUZX7ty16Kfve9g2fCZVmCR2NIUX1MPCDzEboh4KSh2tm1Wg/s600/Say%20Sue%20Me%20-%20The%20Last%20Thing%20Left.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpDrOWeuhG-u8k4-2N3Ds9iss2gNpEDsm5p6fx2mzbMu-K_FLoHSctlcKXanSGt3DD2N25O1bAwfNeTkphIS-o8Ov42vOBhWIiVeOcce2xJE31P7r54rFBhJW0tCnTmv4h8VcwCeC2JMxUZX7ty16Kfve9g2fCZVmCR2NIUX1MPCDzEboh4KSh2tm1Wg/w200-h200/Say%20Sue%20Me%20-%20The%20Last%20Thing%20Left.jpg" width="150" /></a></div><b>17. Say Sue Me - <i>The Last Thing Left</i></b><div>Korean band Say Sue Me was originally pitched to me as sounding similar to Camera Obscura, my favorite band of all time, so of course I had to check them out. You might be disappointed if you're looking for a 1:1 copy, but there is some broad resemblance in the emotional temperature of their tunes, and more specifically on a song like "Photo of You," which has that old school torch song swing that feels very Camera Obscura. What gives them a distinct personality is the soft, sun-kissed guitar sound that dominates <i>Last Thing Left</i>. That tone is totally irresistible -- fuzzy and almost surf-like on "Me Around You," recalling a sunny day that's laced with a little bit of melancholy. Likewise, "The Memory of the Time" is perfectly named, a gorgeous, twinkle-eyed instrumental that feels like contemplative remembrance. But it's "To Dream" that truly steals the show. It's the only song sung in Korean, but you don't need to understand the words by the time it has 4 breathtaking guitars stacked on top of each other and you have tears in your eyes from the beauty of it. That's the power that <i>The Last Thing Left </i>holds: it's an album that's understated and inward but still packs a powerful emotional punch.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=CFftIzDswdI">To Dream</a></div><div>2. <a href="https://www.youtube.com/watch?v=i563qNuNAXw">Photo of You</a></div><div>3. <a href="https://www.youtube.com/watch?v=d_jGcC8CxpE">No Real Place</a></div><div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXi1q60bf1xfEG360sc6hAt8fKzI5wWB4fCwDv8lHGlgIjOIq68nm7U4zBWMUSJsognhvN9zqRB6Yenc6FKACs_1-LuIufQYOiya0uG-47WqoDeap_zvXV3yi6PKHMtjKdhfMuc8hhNbvEScb2bDsw7gxJWfmxvv6GX17tDYaTvZUikZufGvOxsy43dw/s300/Spoon%20-%20Lucifer%20on%20the%20Sofa.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXi1q60bf1xfEG360sc6hAt8fKzI5wWB4fCwDv8lHGlgIjOIq68nm7U4zBWMUSJsognhvN9zqRB6Yenc6FKACs_1-LuIufQYOiya0uG-47WqoDeap_zvXV3yi6PKHMtjKdhfMuc8hhNbvEScb2bDsw7gxJWfmxvv6GX17tDYaTvZUikZufGvOxsy43dw/w200-h200/Spoon%20-%20Lucifer%20on%20the%20Sofa.jpg" width="150" /></a></div><b>16. Spoon - <i>Lucifer on the Sofa</i></b><div>After the more dance-centric <i>Hot Thoughts</i> and the poppier, boutique sounds of <i>They Want My Soul</i>, it's a comfort to have Spoon back to making a straight rock record with <i>Lucifer on the Sofa</i>. The album starts off with a swaggering cover of Bill Callahan's "Held," and it's off to the races, following that up with "The Hardest Cut," which imagines a world where The Black Keys were making blues rock with this kind of flavor. Frontman Britt Daniel still commands attention after all of these years with his flinty voice and meat n' potatoes song instincts. He'd be an everyman if it weren't for the fact that very few can write effortless gems as consistently as he does. The tracks are laid out perfectly on <i>Lucifer</i>, cresting in the middle with the back-to-back run of the ragged "Wild" and the classic rock piano jaunt "My Babe." In interviews the band mentioned that they wanted to replicate the sound of performing live, and that strategy works wonders, giving the songs a "you're right there" experience that makes it sound like their most lively record in a while. It's probably annoying that every Spoon write-up praises their consistency, but almost 25 years of great albums is seriously impressive.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=RBIq5_ONIsE">My Babe</a></div><div>2. <a href="https://www.youtube.com/watch?v=3ukO2pW9c0o">Wild</a></div><div>3. <a href="https://www.youtube.com/watch?v=U4wjQljPxkg">Lucifer on the Sofa</a></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSi8K0P07cEC9ZWt-4dH4Kdr_novx6JESwWVbjp7Sx-MoA1_Zt1FTkS2FDPs-uBFRqxNMhSb5w7ogVb_b2v98G34_OxBFJ9kDLHqToLxMehDpbOz1GrXid9WkpPj_IuA41YbvLRjTPSHrZe4MKG2J8eWm9ad7BJg8o-dt91lgfcgYQjOUtFW77gwRTAg/s300/Beach%20House%20-%20Once%20Twice%20Melody.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSi8K0P07cEC9ZWt-4dH4Kdr_novx6JESwWVbjp7Sx-MoA1_Zt1FTkS2FDPs-uBFRqxNMhSb5w7ogVb_b2v98G34_OxBFJ9kDLHqToLxMehDpbOz1GrXid9WkpPj_IuA41YbvLRjTPSHrZe4MKG2J8eWm9ad7BJg8o-dt91lgfcgYQjOUtFW77gwRTAg/w200-h200/Beach%20House%20-%20Once%20Twice%20Melody.png" width="150" /></a></div><b>15. Beach House - <i>Once Twice Melody</i></b></div><div>The method of releasing <i>Once Twice Melody</i> in chapters, each month from November 2021 to February of this year was an odd choice, one particularly ill-suited for generating hype and discussion. But maybe that was the best way to take in Beach House's most massive album to date, an 18-track, 85-minute epic. With that many songs it's especially important for them to shake the "all their songs sound the same criticism," and while that's never been true in the first place, <i>Melody</i> is the most varied sounding release in their catalog. One second you'll have the gauzy, riding-on-a-moonbeam "Superstar" and then they'll transition to "Pink Funeral," which brings back some of the rickety, spooky sound that characterized their early work. As a longtime fan, it's always interesting to hear the subtle shifts in their sound: guitars are more likely to blend into the layer of sonics than pierce through, the drum programming is more skittering and modern. At this point the band's two members are telepathically attuned to each other, operating on pure instinct and drawing the listener into a euphoric trance. This hasn't had the list showing that other Beach House albums usually do, because it's one of those records you start to doubt when you spend time away from it. Every time I found myself doing that this year, I'd return back to <i>Once Twice Melody</i> and be blown away all over again.</div><div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=80mz7OhyBUo">New Romance</a></div><div>2. <a href="https://www.youtube.com/watch?v=5J4ms4gcHrk">Through Me</a></div><div>3. <a href="https://www.youtube.com/watch?v=f7maH8Lmghk">Runaway</a></div></div><div><div><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf8BGqagEk80-GDax7kZodGzxEnAu4zRxKVmBjEnBtHNHW6qm4C9-FWTZp5HWQFr_PYtwJUZLgNUef9usjSJvV4sJL_9M5YG3oUvL-I-SOQFrnjNpFEE-y-v94inQQntckzvTlvZiA56TenKWyyPWAGj_01PNETiRBn1EdSARuE4ez6ETJUqyT5WzQBQ/s700/Drug%20Church%20-%20Hygiene.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf8BGqagEk80-GDax7kZodGzxEnAu4zRxKVmBjEnBtHNHW6qm4C9-FWTZp5HWQFr_PYtwJUZLgNUef9usjSJvV4sJL_9M5YG3oUvL-I-SOQFrnjNpFEE-y-v94inQQntckzvTlvZiA56TenKWyyPWAGj_01PNETiRBn1EdSARuE4ez6ETJUqyT5WzQBQ/w200-h200/Drug%20Church%20-%20Hygiene.jpg" width="150" /></a></div><b>14. Drug Church - <i>Hygiene</i></b><div>Every musical style has that "[genre] for people who usually don't listen to [genre]" band that gets popular well outside their niche. Deafheaven is that for metal, Kacey Musgraves is that for country, Kanye West and Kendrick Lamar are that for rap, and right now Drug Church is the band for hardcore. Their latest album <i>Hygiene</i> is an audio assault -- it's a flurry of punishing, heavy riffs that blazes to the next song before you have any time to breathe. Then, after 26 minutes, it's over. That whirlwind experience makes the album more rewarding on the whole than just listening to its songs in isolation. Amidst the fury, lead singer Patrick Kindlon has some thoughtful lyrics on the meaning we find in art, the state of the world, and even ideas about cancel culture that aren't insufferable. He knows how wrap it in a pithy quote like "Trust this statement: there's no trusting states, man" or "News flash, I need news less" as well. But really, the main draw are those guitars that are designed to be played as loud as possible. Sometimes there's a reason why a band is the entry-level recommendation for a genre, and in Drug Church's case it's because they simply rip.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=WryOtMQ6pTE">Plucked</a></div><div>2. <a href="https://www.youtube.com/watch?v=yhcpDkF_-YM">Piss & Quiet</a></div><div>3. <a href="https://www.youtube.com/watch?v=c8sTAuFXpTA">Super Saturated</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkG1HVkRvh0qYGh6PMLUh6HEGen-xqlPMTDAN_zPPGFymFwUmPQanrGTEIMg2PPkakvwoc0n-K_MVfijARCvdVN9SS00PUTCaSrdyfo1ahuvNXj01feMKlIKfjTUIaXqwFNQ6p7RX5cPjlncsIawzRFgW5JkODLTTTrY5OEQJgVmRvSjG-iKvdDXsYvQ/s1200/Belle%20and%20Sebastian%20-%20A%20Bit%20of%20Previous.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkG1HVkRvh0qYGh6PMLUh6HEGen-xqlPMTDAN_zPPGFymFwUmPQanrGTEIMg2PPkakvwoc0n-K_MVfijARCvdVN9SS00PUTCaSrdyfo1ahuvNXj01feMKlIKfjTUIaXqwFNQ6p7RX5cPjlncsIawzRFgW5JkODLTTTrY5OEQJgVmRvSjG-iKvdDXsYvQ/w200-h200/Belle%20and%20Sebastian%20-%20A%20Bit%20of%20Previous.jpeg" width="150" /></a></div><b>13. Belle and Sebastian - <i>A Bit of Previous</i></b><div>Before <i>A Bit of Previous</i>, it had been 12 years since I truly loved a Belle and Sebastian album. I never fully glommed on to the genre push-and-pull of <i>Girls in Peacetime...</i>, the <i>Human Problems</i> EP series was solid but ill-served by its release strategy, and their 2020 soundtrack/album seemed so minor I didn't even listen to it. It's good to have a record that reminds you of how nice it is to grow old with the band. Album opener "Young and Stupid" is a reflection of that, starting off wistful musings on youth, but now they follow life to its logical conclusion, with lyrics about "creaking bones." True to its name, <i>Previous</i> catalogues the collective's sound over the decades. "Talk to Me, Talk to Me" continues the dancefloor-ready sparkle of recent albums, while the big honking power pop of "Unnecessary Drama" wouldn't be out of place on 2006's <i>The Life Pursuit</i>, and "Do It For Your Country" recalls their 90s heyday. And while they're no longer writing the character sketches that made them beloved, their lyrics still are meant for the dreamers and the downtrodden, the people who spend half their lives in their own heads. As long as that continues, they'll always have a fan in me.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=CcwqBdXVLvg">If They're Shooting At You</a></div><div>2. <a href="https://www.youtube.com/watch?v=h2-RZSVHNVQ">Unnecessary Drama</a></div><div>3. <a href="https://www.youtube.com/watch?v=0C7dHmTXoMg">Come On Home</a></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_BL4-jbHGsFllp9wYLnJgQrU0nXACmr58J1712zRlKXxLXUHRvSxytO5P4gSBKCc33xby8kdTeAUbApgUcpz12RLN6j-EIeUJFc-ejPPE_SOGXgisAkj-N3rZtbaIpGpy-wH8wjFSwuJE29QedDh4yXUB51S-75eRWU2fK5WJbMO0gDyeVsYAOVH_Og/s600/Soccer%20Mommy%20-%20Sometimes%20Forever.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_BL4-jbHGsFllp9wYLnJgQrU0nXACmr58J1712zRlKXxLXUHRvSxytO5P4gSBKCc33xby8kdTeAUbApgUcpz12RLN6j-EIeUJFc-ejPPE_SOGXgisAkj-N3rZtbaIpGpy-wH8wjFSwuJE29QedDh4yXUB51S-75eRWU2fK5WJbMO0gDyeVsYAOVH_Og/w200-h200/Soccer%20Mommy%20-%20Sometimes%20Forever.jpg" width="150" /></a></div><b>12. Soccer Mommy - <i>Sometimes, Forever</i></b></div><div>People tend to give outsized credit to the male collaborators of female artists, and Sophie Allison had to have known that when she made the surprising decision to record her third album with the adventurous electronic musician Daniel Lopatin. It hardly matters though, because while Lopatin does add his signature glitchy sounds to songs, what makes <i>Sometimes, Forever</i> great is still its essential Soccer Mommy essence. Allison remains a vivid, nakedly emotional lyricist, contending with self-doubt, her precarious mental health, and the complicated intensity of love with a twisted beauty. This record has the added layer of her dealing with the complexities of being a public figure, particularly on album closer "Still," where she sings "Cause I read the things people have to say / They make me feel like I'm not a person." There's no shortage of heavy material on the album, but it goes down easier because of how she renders it through her facility with melody and killer songwriting chops. The power of Soccer Mommy will always be Sophie Allison and a guitar. The rest is just icing on the cake.<br /><div><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=3vtWcwzAC9U">Don't Ask Me</a></div><div>2. <a href="https://www.youtube.com/watch?v=I1GIceRLPEM">With U</a></div><div>3. <a href="https://www.youtube.com/watch?v=I1xOoqD8jkI">Shotgun</a></div><div><br /></div></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-YhoXWGIKTmE5l6it0y4wLuNmS70enQz-Gykjg6XRQwn0R5cCdPJm_dXpfP-JS3WezA19FcKDxg2SfykX77IhNySNIk3TGsg42hfRtcD8Ulb021mlUqB612LTFihk5DxfwlPqNR7YuqgKAS0i_cSBjYzV1WDPKcfSD8uISnHQpj7pKgH5Iu9aqRvFA/s1024/Dry%20Cleaning%20-%20Stumpwork.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-YhoXWGIKTmE5l6it0y4wLuNmS70enQz-Gykjg6XRQwn0R5cCdPJm_dXpfP-JS3WezA19FcKDxg2SfykX77IhNySNIk3TGsg42hfRtcD8Ulb021mlUqB612LTFihk5DxfwlPqNR7YuqgKAS0i_cSBjYzV1WDPKcfSD8uISnHQpj7pKgH5Iu9aqRvFA/w200-h200/Dry%20Cleaning%20-%20Stumpwork.jpg" width="150" /></a></div><b>11. Dry Cleaning - <i>Stumpwork</i></b><div>At first glance, the star of the Dry Cleaning show is lead singer/talker Florence Shaw. Her deadpan spoken musings give the band their unique hook, with oddball lyrics that run the gamut of being funny, enraged, absurd, and moving. Her voice and words in combination invite you into a different world, one with its own internal logic that starts to make strange sense. She can turn a sign she saw for a missing turtle in passing one day into a song with a whole solemn history and narrative behind it. She understands the power of saying "I don't want to empty your bank account and give you nightmares, but..." and then never finish the thought. But give it some time and you might find yourself thinking that guitarist Tom Dowse is the real heart of the band. He's one of the most interesting six-string slayers working right now, delivering some of the nastiest, most serrated riffs that'll have your face instinctively scrunching up at the sound of them. Between the mangled riff on "Driver's Story," the heavy chord assault that forms the closest thing to a hook on "Hot Penny Day," and the unfurling lines all over "No Decent Shoes for Rain" that voice so many emotions through their sound, <i>Stumpwork</i> is full thrilling guitar moments. The band expands the borders of their sound on this album, but they're always tied to those punishing riffs. Fight the instinct to label Dry Cleaning as a gimmick band; <i>Stumpwork</i> shows that they're fully capable of sustaining their odd alchemy.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=Brc0eLAxSG0">Hot Penny Day</a></div><div>2. <a href="https://www.youtube.com/watch?v=XyfYFznhyJI">No Decent Shoes for Rain</a></div><div>3. <a href="https://www.youtube.com/watch?v=XdvrSu38pWY">Gary Ashby</a></div></div><div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAq96_6KbObxQVpEzm6KKL6xzLPm9FDnJ1ETWf1d91dZcWoqlLCO0QCq8ima_ltffPy6hkagQau-Qc2QEWDQraGkgx9O5NVt4E6aaMt4UXf0TzuBg8pX7ks8Nsb7fV6E5ht9tkdxdnZh9jTKVoYuyMNOj2dPXUlKuZ9QDglvpRzomsBWNxQnFPdV67w/s640/Sabrina%20Carpenter%20-%20emails%20i%20can't%20send.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAq96_6KbObxQVpEzm6KKL6xzLPm9FDnJ1ETWf1d91dZcWoqlLCO0QCq8ima_ltffPy6hkagQau-Qc2QEWDQraGkgx9O5NVt4E6aaMt4UXf0TzuBg8pX7ks8Nsb7fV6E5ht9tkdxdnZh9jTKVoYuyMNOj2dPXUlKuZ9QDglvpRzomsBWNxQnFPdV67w/w200-h200/Sabrina%20Carpenter%20-%20emails%20i%20can't%20send.jpg" width="150" /></a></div><b>10. Sabrina Carpenter - <i>emails i can't send</i></b><div>It must be tough being Sabrina Carpenter. (I mean, I'm sure it isn't but roll with me here.) She makes better music than most pop singers who get more radio play and Spotify listeners, she's definitely a better singer than any of them who aren't named Ariana Grande or Adele, and yet the most fame she's gotten was being obliquely referenced in a more successful 18 year old's song. Thankfully, she doesn't let that bring her down on <i>emails i can't send</i>, another great record in an increasingly impressive discography. Its songs accentuate her nimble vocals, and the best ones -- often co-written by Julia Michaels -- have playful lyrics and clever conceits. The strongest moments are the ones that recall the R&B-inflected pop of her <i>Singular</i> series, like "Nonsense" and "Read Your Mind," but she still finds success varying her sound on the rest of the album. <i>Emails</i> features some real heat checks, where she flirts with bad ideas (the chorus of "Already Over" sounds like something you'd on the radio from Dan + Shay, those low-level coffeehouse singer verses on "Skinny Dipping") but even those tracks come around to being pretty good. Sabrina Carpenter may never end up being a huge name in the pop world, but real heads know she's got the goods.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=ECVA6FvhdEE">Nonsense</a></div><div>2. <a href="https://www.youtube.com/watch?v=-CufSqKfx24">Decode</a></div><div>3. <a href="https://www.youtube.com/watch?v=cWyGx881vG8">Read Your Mind</a></div><div style="text-align: left;"><br /></div><div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBB3QNYBFyPRWz4qfUuti6Hjd6rhO1kU_ZZceeAv2np_eccgIfEii77VijQaP_xaLFqwGfoYsURPijz-zdfWo39cJWtx7gwIJVSIE8FDdrqZ3eoy7iioGdwaHjjkg58x4JgR-q7uiNg6v8W82nkpQm6PoJGglDNJf5A9VVpD_0oMfDb_7pEqE0nLDtIA/s640/JID%20-%20The%20Forever%20Story.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBB3QNYBFyPRWz4qfUuti6Hjd6rhO1kU_ZZceeAv2np_eccgIfEii77VijQaP_xaLFqwGfoYsURPijz-zdfWo39cJWtx7gwIJVSIE8FDdrqZ3eoy7iioGdwaHjjkg58x4JgR-q7uiNg6v8W82nkpQm6PoJGglDNJf5A9VVpD_0oMfDb_7pEqE0nLDtIA/w200-h200/JID%20-%20The%20Forever%20Story.jpg" width="150" /></a></div><b>9. JID - <i>The Forever Story</i></b></div><div>Sometimes wordy, technical rappers can become exhausting and mechanical if you listen to them for a while, but JID's inimitable serpentine style finds incredible pockets that always makes for a lively listen. Plus, he's way more versatile than your usual lyrical miracle emcee: He can do storytelling like "Crack Sandwich," which uses its third verse to tell a vivid story about a time he and his siblings got into a fight with other people at a club in New Orleans. He can rap over unconventional beats, as he does over the head-spinning Thundercat basslines of "Lauder Too." He even has moments like "Kody Blu 31" where he shows that he's a surprisingly good singer. Because of that jack-of-all-trades nature, <i>The Forever Story</i> is an exercise in constantly keeping the listener on their toes, evidenced by the neck-snapping beat switches that arrive in the middle of half the songs. It doesn't matter what he raps over, his fusillade of bars and staccato flow lays waste to any loop thrown at him. If you thought Kendrick Lamar's album was a misstep this year, maybe this album from another heady, high-voiced rapper will work better for you.<br /><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=AXeugCTXsNs">Crack Sandwich</a></div><div>2. <a href="https://www.youtube.com/watch?v=MrytARdrZZQ">Raydar</a></div><div>3. <a href="https://www.youtube.com/watch?v=JDu05pqDNaw">Can't Make U Change</a> (ft. Ari Lennox)</div><div><br /></div></div></div><div style="text-align: left;"><br /></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzggDft9jVvLPHJD7fn6j4sWLJ-IdD0398TOygDf3F0XfonF2I3txrflXuKicQD5KZ5Y67vtdPHpVwrntzjFl__DXbI2bvPPFiEM-C-tilKvVKs_zgG5tkPFuzKeFOGN7R_DVKCWvMql6YmgIKt6s9qdnu7oR8LT8fhJKUhG5KnSKsYxszRYOihyGgg/s1200/Tree%20River%20-%20Time%20Being.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzggDft9jVvLPHJD7fn6j4sWLJ-IdD0398TOygDf3F0XfonF2I3txrflXuKicQD5KZ5Y67vtdPHpVwrntzjFl__DXbI2bvPPFiEM-C-tilKvVKs_zgG5tkPFuzKeFOGN7R_DVKCWvMql6YmgIKt6s9qdnu7oR8LT8fhJKUhG5KnSKsYxszRYOihyGgg/w200-h200/Tree%20River%20-%20Time%20Being.jpg" width="150" /></a></div><b>8. Tree River - <i>Time Being</i></b><div>Guitar music with earnest lyrics sung by a vocalist who possesses a dorky, nasally voice has been a successful formula since the beginning of time. It worked for The Weakerthans, it worked for Death Cab for Cutie, and now it's working for Tree River. While their songs lack the poetry of John K. Samson's or Ben Gibbard's in his prime, the straightforwardness that the band trades for on <i>Time Being</i> has its own potency. Whether they're singing about feeling like everyone in your life is mad at you, or wondering whether somebody is laughing at or with you, they know how to make the most small scale moments feel like massive inflection points. And though they serve up broad phrases like "fuck apathy" and "breathe in time, believe in love," they're capable of getting specific, as they do on album highlight "Same Blood," one of the best songs about dealing with and ultimately overcoming the death of a loved one that's come around in a long time. With clean production, the guitars sound huge and the spaces wide open, all the better for shouting these impassioned hooks at the top of your lungs.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=X0BlQeoZ3Mo">Same Blood</a></div><div>2. <a href="https://www.youtube.com/watch?v=N6Ntmr0jxmM">Thought Bubbles</a></div><div>3. <a href="https://www.youtube.com/watch?v=gWcAsYow9Wo">Laughing With</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSsD-OGWj5dGNj8X-D4w1RgOCxt00ywR-hJ4oPpU7Qtt-r2QTFSWyg7wV1eXL_V0I6ywqGTQ8a90voJq8iiMbxUoz-UrP6O6V5cjbw8Os73rGthEjeXXjIUhXOYmnpX5QMFLCa__vx19-hBQbLylLyu7MiPFMtlS6ZBayIrZBYX07DmHj5-6FkBmigVA/s1200/Pool%20Kids%20-%20Pool%20Kids.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSsD-OGWj5dGNj8X-D4w1RgOCxt00ywR-hJ4oPpU7Qtt-r2QTFSWyg7wV1eXL_V0I6ywqGTQ8a90voJq8iiMbxUoz-UrP6O6V5cjbw8Os73rGthEjeXXjIUhXOYmnpX5QMFLCa__vx19-hBQbLylLyu7MiPFMtlS6ZBayIrZBYX07DmHj5-6FkBmigVA/w200-h200/Pool%20Kids%20-%20Pool%20Kids.jpg" width="150" /></a></div><b>7. Pool Kids - <i>Pool Kids</i></b><div><div>Four years is a long time between albums these days, particularly in the DIY scene, but that's how long it took for Tallahassee's Pool Kids to deliver a follow-up to their promising debut album. It turns out the wait was worth it, because this self-titled record is a huge level up, dazzling with its high drama, dynamic songs. The tracks on <i>Pool Kids</i> keep you on your toes -- they careen and lurch through different mini-movements at will. Because of this, they feel like epic odysseys even though none of them pass the five-minute mark. With each listen, the insane tightrope walk that the band pulls off becomes more impressive: it's moody without sacrificing its catchiness, technical but still accessible. Pool Kids are like a heavier, more math-rock influenced Paramore, and if that sounds at all appealing to you, then definitely give this album a spin.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=cwM8GcAqR-s">Arm's Length</a></div><div>2. <a href="https://www.youtube.com/watch?v=VBdMTdpT5M4">Talk Too Much</a></div><div>3. <a href="https://www.youtube.com/watch?v=yrNKcJj7yJg">Swallow</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIyr2J593lN0xF92BmtuWJdLAmH9HzaBZ3rn0BW0Gl0nPaB3XZgSsoWY0Ce4X-23hkXs2U0Bcy7qFlAUCRgXi7IX2fj6abYyhgAjYCTMzPZe-Uwf5HBdGl2EQijDFEc_bQHcdvabTdtFgLbcOcYc3TfZjRbox_W8TFwUWZY18xyMVK2Euh09eiG8o5_Q/s1500/The%20Beths%20-%20Expert%20in%20a%20Dying%20Field.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIyr2J593lN0xF92BmtuWJdLAmH9HzaBZ3rn0BW0Gl0nPaB3XZgSsoWY0Ce4X-23hkXs2U0Bcy7qFlAUCRgXi7IX2fj6abYyhgAjYCTMzPZe-Uwf5HBdGl2EQijDFEc_bQHcdvabTdtFgLbcOcYc3TfZjRbox_W8TFwUWZY18xyMVK2Euh09eiG8o5_Q/w200-h200/The%20Beths%20-%20Expert%20in%20a%20Dying%20Field.jpg" width="150" /></a></div><b>6. The Beths - <i>Expert in a Dying Field</i></b><div><i>Expert in a Dying Field</i>, the third record from New Zealand power pop greats The Beths, finds a middle ground between their exuberant debut and its more mellow follow-up, landing on something that's richer and more satisfying without relinquishing that sparkling fizz that they're known for. What puts them a level above their peers is they have the instrumentation to keep up with their monster hooks, and their musicianship and chemistry shine through as always. <i>Expert</i> find The Beths more varied than ever: "Silence is Golden" moves like a buzzsaw, perfectly matching the tone of the song's lyrics about anxiety and intrusive thoughts. "I Want to Listen" is off-kilter, almost jazzy with a lead guitar that worms through the song. Meanwhile, the lovely ballad "Your Side" is a swooning midtempo number and "Head in the Clouds" soars by with a driving-with-the-top-down chord progression. Previous Beths albums had so much pep that they flirted with being exhausting after a few listens, but there's none of that so far with <i>Expert in a Dying Field</i>, which might be their best yet.<br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=57gscL5bTUs">When You Know You Know</a></div><div>2. <a href="https://www.youtube.com/watch?v=PbO4DzfhnVg">Silence Is Golden</a></div><div>3. <a href="https://www.youtube.com/watch?v=QIv2MxilQ6E">Best Left</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1IdEbi8glT0EJ9_c0L1HTGjZ2e3qYdDj3HBj6xPslm0jI-l3rFYoDIGVTQeL2BFMC_LKj2r9nWlo2_uT6UNlL6_vLLvMv_8_2TlAZejhx5POahRJKTZtmGuZmLNWq9jgTzivLSlHcp8_YB6l8pIEfRZdlo8PRXRpMJSbVaR45GSRbiYrLFazfbuR1PQ/s2560/String%20Machine%20-%20Hallelujah%20Hell%20Yeah.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="2560" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1IdEbi8glT0EJ9_c0L1HTGjZ2e3qYdDj3HBj6xPslm0jI-l3rFYoDIGVTQeL2BFMC_LKj2r9nWlo2_uT6UNlL6_vLLvMv_8_2TlAZejhx5POahRJKTZtmGuZmLNWq9jgTzivLSlHcp8_YB6l8pIEfRZdlo8PRXRpMJSbVaR45GSRbiYrLFazfbuR1PQ/w200-h200/String%20Machine%20-%20Hallelujah%20Hell%20Yeah.jpg" width="150" /></a></div><b>5. String Machine - <i>Hallelujah Hell Yeah</i></b><div>Bands are too small these days. Power trios, four-pieces, even five-person bands -- all cowards. Pittsburgh's String Machine understand the simple equation of More People = Better Music. They sport a total of seven members, and they use their ranks to the fullest extent with songs that are bursting with life and sound. Horns? They've got them. Strings? You can find them here. Guitars? Of the acoustic <i>and</i> electric variety. <i>Hallelujah</i> <i>Hell Yeah</i> has a fullness that recalls the indie maximalism of the mid-2000s. Songs like "Churn It Anew" are bright and ornate, powering along with galloping drums, horns, and New Pornographers harmonies. But "Gales of Worry" also exhibits an instinct of knowing when to control their power, keeping the verses restrained before winding up into a big, string-laden chorus. With this album, String Machine has delivered nine songs of resplendent, serotonin-boosting joy. Hallelujah, hell yeah indeed.</div><div><br /></div><div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=eQtmtkRHdpo">Gales of Worry</a></div><div>2. <a href="https://www.youtube.com/watch?v=Lxdwcpb-Chs">Dark Morning (Magnetic)</a></div><div>3. <a href="https://www.youtube.com/watch?v=KByh8G3qLUQ">Touring in January</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">
<b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUR1WNspl_qYz4l_OIGyjFed4v8Hs85L0_9xpRSfjt81DLd1XY0r7b21dAVS2vzfsU9ptutJ49O4jWvu88mh5dLteFV3RItKneIerWdDMWBHk9cGKmFv5m2eIMJ7CpnWFZqjylEJMO2brYj20zpVUdJXeDs59nM4858BNesnPjrMe__xl-c-6uoion9w/s3000/Alvvays%20-%20Blue%20Rev.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUR1WNspl_qYz4l_OIGyjFed4v8Hs85L0_9xpRSfjt81DLd1XY0r7b21dAVS2vzfsU9ptutJ49O4jWvu88mh5dLteFV3RItKneIerWdDMWBHk9cGKmFv5m2eIMJ7CpnWFZqjylEJMO2brYj20zpVUdJXeDs59nM4858BNesnPjrMe__xl-c-6uoion9w/w200-h200/Alvvays%20-%20Blue%20Rev.jpg" width="150" /></a></div>4. Alvvays - <i>Blue Rev</i></b></div><div style="text-align: left;">If you thought sophomore album <i>Antisocialites</i> was the platonic ideal of what Canadian cult favorite Alvvays should sound like, <i>Blue Rev</i> might take some time to adjust to. It trades the clean and polished sonics of that album for blown out, wall-of-sound noise. They've always been a band with sneakily impressive guitar work, but there's nothing modest about it here. The guitars are at the forefront of the mix in a big way on <i>Blue Rev</i>, cycling from Smithsian jangle to shoegaze smears. At first, the level of noise on top of the songs feels like a distraction from the band's hooky songwriting, but it starts to feel like an essential ingredient that enhances the pop structures. Every listen reveals another little ingenuity -- they pack so much into the album that it's almost shocking that it's only 38 minutes. The three song stretch of "Velveteen," "Tile By Tile," and "Pomeranian Spinster" in particular is unbelievable, enough to make any songwriter blind with jealousy. <i>Blue Rev</i> once again proves that we have a rare gift with Alvvays, a band often imitated but rarely matched.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=AgvtkRGGG60">Pomeranian Spinster</a></div><div>2. <a href="https://www.youtube.com/watch?v=tqwQZj2qQZE">Velveteen</a></div><div>3. <a href="https://www.youtube.com/watch?v=tWfG7F-TAWY">Easy On Your Own?</a></div><div><br /></div><div><br /></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1SfiMgNmuy8Q0n0XXiASrQLCgU5KhUsQZN6tbxMON_q5Qyn4tedZVlgxzDeRZwMoibeTBXmhMXmv7cmbsTD51v8JnRvsTNhxM_VZCpF1z6ojgTXR4cCBh3ZS13iuhFik3YpeZ-GKoJC30S7-Ug7X3_kSiO9LQBGI-cB221CJoLQu-llP5bwx0BUUMqg/s600/Sobs%20-%20Air%20Guitar.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1SfiMgNmuy8Q0n0XXiASrQLCgU5KhUsQZN6tbxMON_q5Qyn4tedZVlgxzDeRZwMoibeTBXmhMXmv7cmbsTD51v8JnRvsTNhxM_VZCpF1z6ojgTXR4cCBh3ZS13iuhFik3YpeZ-GKoJC30S7-Ug7X3_kSiO9LQBGI-cB221CJoLQu-llP5bwx0BUUMqg/w200-h200/Sobs%20-%20Air%20Guitar.jpg" width="150" /></a></div><b>3. Sobs - <i>Air Guitar</i></b></div><div style="text-align: left;"><div>If you're an amateur listmaker like myself, then the last few weeks of the year are a stressful time of trying to catch up on anything you might have missed. The irony is that because you're cramming so much in, you're rarely able to digest the records enough for them to make top 20 contention, but sometimes an album's greatness is so self-evident that it makes the cut at the last minute. Such is the case with <i>Air Guitar</i>, which I have to thank Keegan from the band Camp Trash and Michael Brooks of the Endless Scroll podcast for shouting out. Sobs are a band from Singapore who specialize in making sticky, lovelorn tunes that have a way of worming their way into your way brain and never leaving. Some of the songs on <i>Air Guitar</i> are so perfect they feel like they've existed forever -- the band knows every songwriting trick back and forth, and they stack them on top of each other with prodigious ease. A song will already sound fully formed and then they'll add an extra guitar line here or a keyboard splash there to make it even better. At the center of it all is lead singer Celine Autumn's soft, girlish voice, which nestles around these bulletproof pop hooks with her infectious line deliveries. Sobs have mentioned that they don't want to be described as the Asian version of any Western band, but they don't have to worry about that. There's nobody in this hemisphere doing it quite like them.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=iFKDog0Th44">Burn Book</a></div><div>2. <a href="https://www.youtube.com/watch?v=D9-izs2Ba3c">Dealbreaker</a></div><div>3. <a href="https://www.youtube.com/watch?v=RPHCC86abXo">LOML</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5SedUadSlZ8C7-SoKyHqRV6Nq7kQpxsnUZHXEr_faB5U28u-5XHOZ6_IcnEgRdOsVQt1WP7bRSIhgQL7f8tb-ka0gaeS77ZicQshUlIWCF8yx-jKCDabytbnYULBlEh2-FV0ewTLHO5dKWiGgvmUZcddz5SJUurakr61XPQAgz-y96QSrv9NqdKd-Hg/s300/Beyonce%20-%20Renaissance.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5SedUadSlZ8C7-SoKyHqRV6Nq7kQpxsnUZHXEr_faB5U28u-5XHOZ6_IcnEgRdOsVQt1WP7bRSIhgQL7f8tb-ka0gaeS77ZicQshUlIWCF8yx-jKCDabytbnYULBlEh2-FV0ewTLHO5dKWiGgvmUZcddz5SJUurakr61XPQAgz-y96QSrv9NqdKd-Hg/w200-h200/Beyonce%20-%20Renaissance.png" width="150" /></a></div>2. Beyonce - <i>Renaissance</i></b></div><div style="text-align: left;">A new Beyonce album in 2022 was always going to be rapturously received. She's reached the point of adoration from critics and fans alike that she could have released a record consisting entirely of scatting and slam poetry and it would have ended up on almost every top 10 list at the end of the year. I hardly consider myself a member of the Beyhive -- all of her music is good, but I've always been a little confused by the messianic status placed upon her -- so take my word when I say this: <i>Renaissance</i> is a stunning album. Well, it's almost more a summer dance mix than an album, taking the listener on a tour of deep house, roller rink disco, dancehall, soul, and every other Black music genre under the sun, blending them together seamlessly. It's a magnificently sequenced affair, warming up with the magisterial sway of "I'm That Girl" and then upping the intensity until it closes with the barnburner that is "Summer Renaissance." With the powerful grooves <i>Renaissance</i> is working with, it'd be easy for a singer to get lost in them, but she's always in thrilling command, never breaking a sweat over the feverish music. When a musician has ascended to True Artiste status, there's a tendency to fall victim to self-seriousness. Thank god Beyonce went and made a party album instead.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=M-ruSdKbQUM">Plastic Off the Sofa</a></div><div>2. <a href="https://www.youtube.com/watch?v=UlbVbKSiTuM">Move</a> (ft. Grace Jones & Tems)</div><div>3. <a href="https://www.youtube.com/watch?v=o3WqRPM6M0A">Heated</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NilPcG7ehXw7NSA6WC4bYJuzxuJ39bhknH4jHxDNXueABUb1-lp8kFGt1sSoT_F9Lb2beRaVWT8rY1iBcOL7wolnV78sqU9vwOJ8xTXJG6Nkd_Hf2TAcaWStQmRMoT557Zamx7U8Voe4B3dMFlfSGVOpHptz0nYK8WNDqPEGgHCo3r6YmvFav6MRWA/s2048/Momma%20-%20Household%20Name.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NilPcG7ehXw7NSA6WC4bYJuzxuJ39bhknH4jHxDNXueABUb1-lp8kFGt1sSoT_F9Lb2beRaVWT8rY1iBcOL7wolnV78sqU9vwOJ8xTXJG6Nkd_Hf2TAcaWStQmRMoT557Zamx7U8Voe4B3dMFlfSGVOpHptz0nYK8WNDqPEGgHCo3r6YmvFav6MRWA/w200-h200/Momma%20-%20Household%20Name.jpg" width="150" /></a></div>1. Momma - <i>Household Name</i></b></div><div style="text-align: left;">The rock star is a concept that died somewhere in the 90s or early 2000s, but what if it never did, and you could still achieve that rarified air? That's the thesis statement of Momma's third album, which represents the band going all out to create the biggest rock album they can, with songs like "Rockstar," lyrics about filling auditoriums, and namechecks of bands like Pavement and Smashing Pumpkins. That's not just empty ambition either -- Momma has the chops to back it up. The record has so many exciting songwriting ideas: the way they hold off on the incredible main riff of "Speeding 72" for a few bars in the final chorus, the pre-chorus of "Tall Home" getting heavier each time it pops back up, the restraint it takes to not bring back the opening riff of "Lucky" until three minutes later, the way the big chunky chords of "No Stage" give way to arpeggiated single notes towards the end, having the only true guitar solo on the album be the last thing you hear on the closing track. This is the quintessential guitar album, so in love with the instrument that it can't help but stuff all these riffs and little frills in every corner of songs. That passion shines through in the lyrics too. So much of the record is concerned with plans, hopes, dreams, and yearning for escape. The first two Momma albums were promising, but nobody could have predicted a leap like this. It's almost bracing to hear a modern classic like this just rattle off incredible song after song. So if you haven't heard <i>Household Name</i> yet, drive on the highway speeding at 72 MPH and blast it as loud as you can.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=nZWxWsEiGBQ">Speeding 72</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=EZjc4fhkenQ">Lucky</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=Z1maB9SVrtk">Motorbike</a></div></div></div></div></div></div></div></div></div></div></div></div></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well, that wraps things up for my best albums of 2022 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! Most of the highlight songs contain Youtube links if you want to listen to them, but I've also created a Spotify playlist if that's your preferred method. You can find it below. And if you want a complete ranking of all the albums that were in consideration for this list, along with some other data you might find interesting, you can find them on <a href="https://docs.google.com/document/d/1yZydFO0sLwT2JJ3wD2qx4-tP6MihyD_FJEcvH5yw-iU/edit?usp=sharing">this Google Doc</a>.</div>
<iframe allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="380" loading="lazy" src="https://open.spotify.com/embed/playlist/3zS6Glduoee9YxVvVBpVRQ?utm_source=generator&theme=0" style="border-radius: 12px;" width="100%"></iframe><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2021/11/my-20-favorite-albums-of-2021.html">2021</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-albums-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-albums-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-albums-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-albums-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-albums-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-albums-of-2013.html">2013</a></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com3tag:blogger.com,1999:blog-2395748504986705619.post-47824514274919580482022-12-25T00:01:00.424-05:002023-01-02T12:53:25.206-05:00100 Songs I Liked in 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOJCdFzXRoKniLJF89wwJi4IFLY754-qHGrZk-4pJq2hmeYLfIlnXRQH7SiaCkiQRiZRJbHC8vyUelPfumL-E2RpKXgmE_qJexjpgtpw6YhESv9xsm9qb4FsE_azHdHe8dG31NXmPdLb3aEEz_7nFvzt8O_O2iV3gyIaNUQtn_scr6G3dndaUOR0dv-Q/s700/Best%20songs%20picture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="700" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOJCdFzXRoKniLJF89wwJi4IFLY754-qHGrZk-4pJq2hmeYLfIlnXRQH7SiaCkiQRiZRJbHC8vyUelPfumL-E2RpKXgmE_qJexjpgtpw6YhESv9xsm9qb4FsE_azHdHe8dG31NXmPdLb3aEEz_7nFvzt8O_O2iV3gyIaNUQtn_scr6G3dndaUOR0dv-Q/w400-h280/Best%20songs%20picture.jpg" width="500" /></a></div><div><br /></div>As always, my official end of the year lists will start on December 29th with my 20 favorite albums of 2022. But there's so much great music out there that my album post could never cover all of the things I enjoyed over the past 12 months. So this list is an additional rundown, one that highlights songs from albums that won't be appearing on the top 20 in a few days. I'm including songs from my five honorable mention albums, so if you see something on here from an album you love, who knows, maybe that album is ranked somewhere between 21 and 25 for me. I keep expanding the amount of songs I do for this list, starting at 50 and then expanding to 75, before finally landing on 100 last year. I doubt I'll ever increase it from there because I like my free time, but I did have to cut some songs to get it down to the 100 count. Hopefully you enjoy these picks and find some new music to get into!<div><br /><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;">A previous version had Youtube embeds for every individual song but that was causing performance issues so here's a Spotify playlist with every song.</div><div style="text-align: left;"><iframe allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="380" loading="lazy" src="https://open.spotify.com/embed/playlist/51tTHi1CwtcghSHIZkGkKr?utm_source=generator&theme=0" style="border-radius: 12px;" width="100%"></iframe><div><br /></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Action Bronson - "Zambezi" (ft. Roc Marciano)</b></div><div style="text-align: left;">I haven't really checked in with Action Bronson since 2015 because his shtick got a little old, but I heard enough good things about <i>Cocodrillo Turbo</i> that it piqued my curiosity. "Zambezi" turns back the clock to 2012, with Bronson and Roc Marciano doing what they do best, dropping smooth bars over an eclectic beat.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Akasaekari - "koi no yukue"</b></div><div style="text-align: left;">This is what it has come to: I'm posting anime songs on this list. <i>My Dress-Up Darling</i> was one of my favorite anime of the year and it took the title for best end credits song, with the incredibly bubbly "koi no yukue." It's even better if you listen to it along with the cute visuals of <a href="https://www.youtube.com/watch?v=_8rk_af6ApM">the show's ED</a>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Alex G - "End Song"</b></div><div style="text-align: left;">I don't really get the obsession that people 3-10 years younger than me have with Alex G, and I didn't even bother listening to his album that came out this year. Instead, I'm giving spotlight to a song he did for the soundtrack to the film <i>We're All Going to the World's Fair</i>. Maybe it's because it played after a film that left me stunned, but I find this song is so sad and haunting.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Anais Mitchell - "On Your Way (Felix Song)"</b></div><div style="text-align: left;">Back when <i>Hadestown</i> was a little-known album and not an award-winning Broadway musical, Anais Mitchell was hyped up in some circles as an ambitious songwriter in the vein of Joanna Newsom, and I always wanted to take a deeper dive. The songs on her most recent album aren't necessarily ambitious, but I'm not complaining, because sometimes lovely, unassuming folk music is what you need.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Anxious - "You When You're Gone"</b></div><div style="text-align: left;"><i>Little Green House</i>, the debut from emo band Anxious, is full of hard-charging songs, which is why the switch-up they pull at the end of the album is so effective. A 5 minute journey that incorporates soft female vocals, "You When You're Gone" is terrific, one of my favorite album closers of the year.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Arctic Monkeys - "Perfect Sense"</b></div><div style="text-align: left;">I'll be honest and admit that I'd prefer for Arctic Monkeys to go back to making guitar-based rock music, but I can't deny that Alex Turner has a hell of a croon, which he uses to great effect on the swooning knockout "Perfect Sense." It sounds exactly like the song an old school lounge singer would perform right as the patrons are being ushered out for the night.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Armani Ceasar - "Hunnit Dolla Hiccup" (ft. Benny the Butcher & Stove God Cooks)</b></div><div style="text-align: left;">At 31 years old, I'm very much an oldhead now, so it's only fitting that I include as much Griselda music as I can on this list. This song goes hard -- I'm not the first person to say that Armani Ceasar sounds like Lil Kim but she does, and that's pleasing to an oldhead like me. Benny the Butcher does his Benny the Butcher thing, which is also pleasing to an oldhead like me. Stove God Cooks? We'll talk about him a few songs below.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Band of Horses - "Warning Signs"</b></div><div style="text-align: left;">I have not been checking for Band of Horses albums since 2010, but I heard that <i>Things Are Great</i> was a return to form, so I gave some of it a sample and you know what? It's pretty good! This specific brand of earnest, wide-open indie rock has fallen out of fashion, but it turns out it still hits hard when done well.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Bartees Strange - "Heavy Heart"</b></div><div style="text-align: left;">Bartees Strange didn't level up as much as everyone was expecting him to this year, but "Heavy Heart" shows that he still is fantastic at writing soaring, big tent songs.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>beabadoobee - "Talk"</b></div><div style="text-align: left;">It appears that beabadoobee is destined to merely be a singles artist for me. She can't hold my attention for a whole album, but there are always a handful of massive tunes that I think completely work. "Talk" is the one on <i>Beatopia</i>, a bubblegrunge earworm that suits her way better than her forays into more twee sounds.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Beach Bunny - "Entropy"</b></div><div style="text-align: left;">It remains funny to me that Beach Bunny of all the bands of their ilk were the ones to become massively popular thanks to TikTok (I think?). I like what they do, but if you've heard one song you've pretty much heard them all, and it was a busy year, so I just picked the one song from their latest album that sounded the best and listened to that one repeatedly. "Entropy" is one of the best examples of that Beach Bunny formula -- it's hard not to get that "somebody's gonna figure me out" hook stuck in your head.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Ben Quad - "Blood for the Blood God"</b></div><div style="text-align: left;">Ben Quad is a band from Oklahoma that I heard about from emo guru Ian Cohen, and I quite like what I've sampled. "Blood for the Blood God" contains everything you'd expect from midwest emo music: the noodling guitars, the gang vocals, the involved drum patterns -- they're all there and they're executed very well.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Benny the Butcher - "Back 2x" (ft. Stove God Cooks)</b></div><div style="text-align: left;">Benny the Butcher, Westside Gunn, and Conway the Machine are the figureheads of Griselda, but their affiliates are the ones who are really exciting these days. We all know that Boldy James is the best and most consistent rapper working right now, but I'm here to spread the gospel of Stove God Cooks. Every time he hops on a track, it's like a holiday. Just listen to his verse on "Back 2x." Listen to it! The way he builds and paces the verse, the stacking of basketball references culminating in that bonkers Charles Barkley line, the playful humor. It's Stove God's world and we're mere guests. I can't wait for him to drop his album.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Big Thief - "Dragon New Warm Mountain I Believe in You"</b></div><div style="text-align: left;">Because of the intense love that Big Thief gets from the critical community, there's also a sizeable corner of the internet that has a visceral distrust of them. And though I'm a fan, sometimes I do wonder "Why is it that <i>this</i> is the band that seems to be the exception to the 'Indie Rock Is No Longer Cool' edict that a publication like Pitchfork has seemed to adopt in recent years?" Then I listen to a song like "Dragon New Warm Mountain I Believe in You," and I remember what makes them special. To listen to this track is to hear magic being conjured right before you. I can't even fully describe its power, there's something alchemical and wonderous that exists at the core of it and between the notes. Big Thief aren't necessarily "the only band that matters," but damn they make some incredible songs.<br /><b><br /></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>BlocBoy JB - "Smoke" (ft. EST Gee)</b></div><div style="text-align: left;">Remember BlocBoy JB? He's still doing his thing and having a lot of fun with "Smoke," a song where he and EST Gee trade rhymes with a ton of chemistry.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Boldy James - "0 Tre Nine" (ft. Gue Wop)</b></div><div style="text-align: left;">It appears that Boldy James never sleeps, as he just put out his <i>fourth</i> record of 2022 a week and a half ago. That level of output would be annoying if he wasn't on such a hot streak. I haven't even <i>gotten</i> to two of this year's releases and of the two I have heard, I vastly prefer his Futurewave collaboration <i>Mr. Ten08,</i> but for this list I chose "0 Tre Nine" from <i>Fair Exchange No Robbery</i>. There's nothing I love more than hearing two rappers trade off bars, and there's a section in the middle where Boldy and Gue Wop's eyes roll back and they're in perfect sync, passing incredible mini-verses to one another like a hot potato.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Broken Bells - "Invisible Exit"<br /></b>James Mercer needs to be making a new Shins album, but "Invisible Exit" sounds enough like a <i>Chutes Too Narrow</i> ballad that I'll take it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Built to Spill - "Spiderweb"</b></div><div style="text-align: left;"><i>When the Wind Forgets Your Name</i> is comforting in the way that good-not-great albums from aging legends usually are. And like the best of those kind of albums, it always uncorks one song that stands with some of the band's best work. "Spiderweb" finds that impossible middle ground that Built to Spill seem to often land on, where it's expansive but immediate at the same time.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Camp Trash - "Riley"</b></div><div style="text-align: left;">I follow Keegan Bradford, the lead guitarist of Camp Trash, on Twitter and I've been following since he was just a music critic and Camp Trash were only a meme that hadn't officially released any music. So it's pretty surreal to see that they're not only real, but beloved now. Anyway, the point is that if you've followed Keegan long enough, you know how much he loves The Weakerthans, and the band makes good on that love on multiple songs, but especially "Riley."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Career Day - "No Problem"</b></div><div style="text-align: left;">I know nothing about Career Day, but I heard this on The Alternative's great weekly playlist and it sounds like something that would be on the soundtrack to an EA Sports video game. That's just about the highest compliment I can give a song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Carly Cosgrove - "The Great Doheny"</b></div><div style="text-align: left;">You can tell Carly Cosgrove are a fun band because their name is a combination of Miranda Cosgrove and the character she played on <i>iCarly. </i>Many of their song titles are <i>iCarly</i> references too. The music rocks too, exhibited by "The Great Doheny," which evokes what I imagine most people's 20s were like.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Carly Rae Jepsen - "Go Find Yourself or Whatever"</b></div><div style="text-align: left;">It's insane to me that Carly Rae Jepsen hasn't made a whole album with Rostam Batmanglij yet. The three songs she's done with him are, if not the best songs she's ever done, then they're certainly the most interesting sounding ones in her catalog. "Go Find Yourself or Whatever" arrives towards the end of <i>The Loneliest Time</i> and it's a total knockout. It's spacious and vulnerable and it just tears me up inside whenever I hear it. Maybe the appeal of the Rostam joints is that they're somber curveballs in the midst of high octane bangers, but I just want to see what kind of crack they could cook up together over the length of a whole record.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Carolesdaughter - "Target Practice"</b></div><div style="text-align: left;">Inside of me there is a teenage girl desperate to get out, and she gets to express herself through my love of songs like "Target Practice," which is a perfect piece of brattiness, complete with a humungous hook. Music writers seem hellbent on assigning a pop-punk revival to artists like Olivia Rodrigo, who had maybe two songs on her album that sounded like being at Hot Topic in 2005, but somebody like Carolesdaughter is doing it for real.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>caroline - "Dark blue"</b></div><div style="text-align: left;">I wish I got more out of this caroline record that alot of people like, which is part post-rock, part emo, and part indie-folk. It's especially a shame because the opening song "Dark blue" is a hell of a mission statement, building patiently one element at a time over the course of six and a half minutes. It's gorgeous and breathtaking music, and if they only make one song per album with that kind of power, maybe that's enough.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Cece Coakley - "Monday Morning"</b></div><div style="text-align: left;">VH1 Top 20 Countdown music. Rachel Perry-core. If you know, you know.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Charli XCX - "Yuck"</b></div><div style="text-align: left;">"Yuck" seems to be a divisive song amongst Charli XCX fans, and by that I mean most people think it's one of the best songs on <i>Crash</i> while one person I follow on Twitter hates it. Count me in the former camp -- it's my favorite on an album that ultimately isn't high on my Charli rankings. I tend to like her more left field, PC Music stuff, but songs like "Yuck" are a reminder that she's very good at writing down-the-middle pop songs.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Cheekface - "Pledge Drive"</b></div><div style="text-align: left;">Cheekface make the kind of talky, clever music that could be very annoying if done poorly, but they narrowly avoid that with bouncy instrumentation that buoys the lyrics on "Pledge Drive." That repeated, neurotic "nobody's mad at me" self-talk over the chorus goes hard.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Cloakroom - "Lost Meaning"</b></div><div style="text-align: left;">I'll admit I'm getting sick of the shoegaze wave, which I was never all that onboard with anyway. But "Lost Meaning" is <i>heavy</i> and when I hear what Cloakroom's doing, I start to think that perhaps shoegaze isn't so boring after all.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Conway the Machine - "Drumwork" (ft. Lxvethegenius & Jae Skeese)</b></div><div style="text-align: left;">Apologies to my brother, a Denver Broncos fan, for picking a song where Conway brags by rapping "I'm Russell Wilson how I wiggle through duress, nigga / Picture me stressed, my nigga." Clearly this song was made before the football season started, because Russell Wilson has really been stinking it up this season, huh? That whole Conway verse rules though, and so does the part where Jae Skeese says "She threw me bomb pussy so I had to Laviska Shenault it." Rap is a wonderful genre.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Dazy & Militarie Gun - "Pressure Cooker"</b></div><div style="text-align: left;">"Pressure Cooker" really took off with a certain type of guy this year who loves DIY and punk-adjacent music, and it's easy to see why. There's something appealing and left field about Militarie Gun (a loud hardcore band) and Dazy (a fuzzy power pop band) combining their powers to make a song that sounds like 10 seconds of it would get played during a commercial for a 90s alt rock compilation album.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Death Cab For Cutie - "Foxglove Through the Clearcut"</b></div><div style="text-align: left;">Here comes another song from a band I checked out on, but who put out an album that people were saying was a return to form. I think those people are mostly right, though some of the songs I've heard from Death Cab For Cutie's 10th album sound a little too produced for me. However, I have nothing bad to say about "Foxglove Through the Clearcut," a song that has Ben Gibbard talking his verses over twilit guitars and a soft drum patter before exploding into a big chorus. It kind of reminds me of a Weakerthans song, which is never a bad thing.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Destroyer - "It's in Your Heart Now"</b></div><div style="text-align: left;">Dan Bejar kicks off <i>LABYRINTHITIS</i> with a sprawling seven-minute beauty to prove why he's one of our best and most enigmatic songwriters. That chugging New Order guitar line that carries most of the song is a corker.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Disq - "The Curtain"</b></div><div style="text-align: left;">Disq have been around for a couple of years, but I only became aware of them when their second album got a little bit of buzz this year. This is one of those records I wish I could've explored more if there were infinite hours in the day, because "The Curtain," with its wiry acoustic guitar-led groove, has a kitchen sink sound that reminds me of the kind of indie rock alot of bands were making in the mid-2000s.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Doechii - "Bitch I'm Nice"</b></div><div style="text-align: left;">"Bitch I'm Nice" is only a minute and 27 seconds long, but that's all it needs to make an impression. Doechii comes in all swagger and purpose, and is gone before you even have time to get your bearings.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Duke Deuce - "JUST SAY THAT" (ft. GloRilla)</b></div><div style="text-align: left;">With songs like "Crunk Ain't Dead" and now an album titled <i>Crunkstar</i>, Memphis rapper Duke Deuce has my attention and my sword, and he lives up to the promise of making songs to lose your mind to on "Just Say That," a song that's so fun and full of energy. I remain a little unconvinced of the GloRilla phenomenon -- she's solid, but just strikes me as a less good Megan Thee Stallion -- but she provides hard hitting vibes that match the song's temperature.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>E L U C I D - "Nostrand" (ft. Billy Woods)</b></div><div style="text-align: left;">Out of the two Armand Hammer rappers, Billy Woods is my clear favorite over Elucid, so it's only natural that I gravitated towards the three songs on the latter's solo album that featured Woods. He gets off a bunch of striking lines as usual: "The world different from the back of a police car," "The serpent coiled in his den / Spoiled meat on the wind / Boiled beef intestine, tomorrow lookin’ grim / We ate facing away, our light dimmed," "Every day I walk past people begging to live."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Earl Sweatshirt - "2010"</b></div><div style="text-align: left;">Earl Sweatshirt stopped that boring, woozy half-rapping he's been doing since <i>Some Rap Songs</i>. Thank god.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>EST Gee - "Come Home"</b></div><div style="text-align: left;">I skipped out on EST Gee when he was first popping off a couple of years ago because I assumed he was another one of those melodic, Lil Baby type of rappers that just bounce off of me, but even though he traffics in those circles, he's much more of a truth-telling bruiser type. I dig "Come Home" for that reason, and I should definitely become more of an EST Gee guy.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Father John Misty - "Chloe"</b></div><div style="text-align: left;">Father John Misty has seemingly fallen completely out of fashion. He was once the topic of endless discourse when he'd drop an album, but <i>Chloe and the Next 20th Century</i> barely made a dent this year. Well, regardless of all of that, I love the partial title track that starts the album: this old school, big band showman song with Classic Hollywood soundtrack strings. Mr. Misty has always been at his best when he's writing wry character studies that have a little bit of derision for their subjects, so naturally he's in his bag here on "Chloe."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Felicita - "Cluck" (ft. Kero Kero Bonito)</b></div><div style="text-align: left;">I learned about this song because I'm a Kero Kero Bonito fan and I follow them on Spotify. I don't even know how to describe it, but it's weird and catchy and I love it. When the first chicken clucking sound happens, I laugh every time.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Finesse2Tymes - "Get Even"</b></div><div style="text-align: left;">I'd like to take this entry to lament the loss of Tom Breihan's weekly Stereogum rap column, Status Ain't Hood, where I got alot of my rap recommendations. They have a new monthly rap column from a different writer now, but it's not quite the same, and I've felt lost at sea with rap music for the last three months of the year. Anyway, I learned about this song from Tom's column. It's just good, no-frills rap music.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>fka twigs - "oh my love"</b></div><div style="text-align: left;">Maybe this makes me a square, but I prefer when Twigs goes more conventional pop/R&B like this.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Foyer Red - "Flipper"</b></div><div style="text-align: left;">I mentioned this on last year's list when I had a Foyer Red song on it, but they're doing that 2009 quirky Brooklyn band thing so well. "Flipper" is cool as hell -- constantly shifting, jittery, and strangely beautiful. At this point, I'm anxiously awaiting a full-length album from them.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Frankie Cosmos - "Empty Head"</b></div><div style="text-align: left;">Is this the first Frankie Cosmos song that's five minutes long? The master of the bite-sized banger stretches out on "Empty Head" and the results are gorgeous, keeping that same plainspoken poetry but applying it to something more exploratory. Maybe keeping things to two minutes was limiting Greta Kline.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Fresh - "Why Do I"</b></div><div style="text-align: left;"><i>Raise Hell</i> is a charming little album full of great songs that I enjoyed discovering this year. Album closer "Why Do I" is my favorite, a punky little self-conscious tune that's reminiscent of Los Campesinos.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Glacier Veins - "Autonomy"</b></div><div style="text-align: left;">I can't say I know much about Glacier Veins, but "Autonomy" is a wonderfully catchy, straightforward song, and I love the lead singer's voice.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Goon - "Fruiting Body"</b></div><div style="text-align: left;">Something about "Fruiting Body" feels like returning back to nature. That easygoing, rootsy sound and the cooing lead vocals lull you into a relaxed state.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Greet Death - "Panic Song"</b></div><div style="text-align: left;">What I'd heard of Greet Death before this year was indie rock of the more slowcore variety, so I was pretty surprised by them putting out a big, clean sounding song like this. But hey, it's terrific.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>The Greeting Committee - "Sort of Stranger" (ft. Briston Maroney)</b></div><div style="text-align: left;">Folky indie songs with boy-girl vocals have gone out of style, and probably with good reason, because we were reaching an oversaturation point about 10 years ago. But it's nice to be reminded the power a good version of it holds.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Harry Styles - "Late Night Talking"</b></div><div style="text-align: left;">Let's get one thing clear: Harry Styles is the most boring pop star we have right now. I do not understand why everyone talks about him like he's the new David Bowie. Sure, wearing dresses is cool (although Young Thug did it first) and it's nice that he helps fans come out at his concerts and whatever other nicecore things that get PopBuzz articles written about him, but all of the praise for those things elides one inalienable truth: his music just isn't very good. Every time somebody acts like Harry Styles is someone whose art we should be paying attention to, every time some skeptic is converted and says "no <i>this</i> one is good," I listen and am unimpressed. But "Late Night Talking"? "Late Night Talking" is the one. It's catchy, it's breezy, it's...dare I say...cool? The rest that I've heard of <i>Harry's House</i> is either a snooze or embarrassing fake Prince louche-pop, but we'll always have "Late Night Talking."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Horsegirl - "Dirtbag Transformation (Still Dirty)"</b></div><div style="text-align: left;">I love everything about Horsegirl's story. A bunch of Chicago teenagers meet at a youth program and bond over their love of Sonic Youth and My Bloody Valentine and decide to make music inspired by their heroes -- it's enough to bring a tear to an aging indie rock fan's eye. I think that as a whole, their debut album still has some rough edges to work out, but the highs indicate they could become an incredible band in due time. "Dirtbag Transformation (Still Dirty)" is one of those winners, a rough and tumble, noisy nugget that sounds like their influences in an authentic, non-pandering way.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>IDK - "Taco"</b></div><div style="text-align: left;">Are you a lapsed Kanye West fan who feels like they can't listen to his music anymore because he's a huge, hateful loser? Maybe IDK will help fill the void. The Kanye comparisons are actually superficial -- his voice sounds alot like early Kanye, but that's about where the similarities stop -- which is fine because his music has merits of its own. He put out an EP with Kaytranada earlier this year that has choice cuts like "Taco," a song where he floats over a lively beat led by house-influenced piano keys.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Jobber - "Entrance Theme"</b></div><div style="text-align: left;">Despite having a name like Jobber and giving all of their songs titles like "Hell in a Cell" and "Heel Turn," their music doesn't have anything to do with wrestling. But it still recalls the fun of wrestling and its ability to entertain while not taking itself too seriously. "Entrance Theme" has blaring new wave keyboards and sticky hooks that announce it as big, crunchy, no-holds-barred rock music.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>John Legend - "Dope" (ft. JID)</b></div><div style="text-align: left;">John Legend has become such an avatar for middlebrow corniness that we've forgotten that he's capable of making good music. His first two albums are genuinely great adult contemporary R&B, and even though he's moved more towards making the kind of music that gets played during the end credits of a civil rights film, his voice has never stopped being awesome. All he needed to do was team up with JID on "Dope" to get his mojo back. This is legitimately one of my favorite songs on this list -- it's so smooth and energetic. Sure, it probably gets played in dentist waiting rooms, but you'll think "Damn, this dentist music is hitting."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Julia Jacklin - "I Was Neon"</b></div><div style="text-align: left;">I'm only a casual Julia Jacklin fan, but I appreciate the expansion of her sound on <i>PRE PLEASURE</i>, while still keeping the core of her appeal intact. I love the specificity of storytelling in "Lydia Wears a Cross" but my weakness for a catchy hook made me go with "I Was Neon." That insistent, increasingly desperate repetition of "Am I gonna lose myself again?" really burrows itself into your brain.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Kendrick Lamar - "We Cry Together" & "Mr. Morale"</b></div><div style="text-align: left;">I think my ultimate stance on <i>Mr. Morale & The Big Steppers</i> is "I guess it's good," but that's mostly because I have low standards. It's pretty clearly a step down from his previous work, and I've had little desire to return to it after the first week of its release, with the exception of these two songs. I had to choose both because they represent the two sides of Kendrick Lamar. "Mr. Morale," with its incredible Pharrell beat and blunt force spitting from Kendrick, represents the side of him that can make bangers like "Backseat Freestyle" and "Alright." "We Cry Together"? Well, that represents the Kendrick Lamar people often forget about: the wacky guy who makes ill-advised decisions. Everybody talks about the Pulitzer Prize winning lyricist, but he's also the man who made a song where an unhoused man turned out to be Jesus Christ. The man who did more voices on <i>To Pimp a Butterfly</i> than a Robin Williams standup special. The man who always feels a few wrong steps away from being a Nas-level hotep. "We Cry Together" is hilarious. It's stupid. I love it. People say it's a skip, but for someone who grew up listening to Eminem's "Kim," I just love it when a rapper records a song that must've made everyone in the studio go "...what the hell did I just watch?"</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Kiwi Jr. - "Unspeakable Things"</b></div><div style="text-align: left;">Wolf Parade's <i>Apologies to the Queen Mary</i> has some of my favorite synth sounds ever put to record. Dan Boeckner of that band produced this Kiwi Jr. song, and you can tell from the fantastic synth line it has.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Kura - "Waves"</b></div><div style="text-align: left;">I don't know how this goofy looking white kid got his hands on a Pi'erre Bourne beat, but this is a banger.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Lakeyah - "Mind Yo Business" (ft. Latto)</b></div><div style="text-align: left;">Sampling has gotten exponentially lazier in the past few years, but it's hard to even be mad about this song, which makes no effort of chopping up <a href="https://www.youtube.com/watch?v=r2g0HRUIyzw">"Get Fucked Up" by Iconz</a> (or "Get Crunked Up" for those of us who grew up on the clean version). That's a great song, and I love to be reminded that it exists!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Let's Eat Grandma - "Strange Conversations"</b></div><div style="text-align: left;">There might not be another album from this year that moves me as much as Let's Eat Grandma's sophomore record <i>Two Ribbons </i>does. Art about friendship hits me really hard, and the story of these two childhood friends growing apart as they entered their 20s and got more successful, only to figure things out and make an album about it makes me emotional every time I think about it. It helps that the songs are superb. The pensive, slowly building penultimate track "Strange Conversations" is my favorite, but there are so many gems on this album. It may not have gotten as much press as their debut, but I think it might be better.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Lupe Fiasco - "DRILL MUSIC IN ZION"</b></div><div style="text-align: left;">Earlier this year Lupe Fiasco did an interview with The Ringer where he talked about how he thinks that rappers get better as they age. His argument was that their minds keep sharpening, and it's just that they lose touch with what sound is hot, so they're perceived as falling off. I hear "DRILL MUSIC IN ZION," which features him at age 40 delivering some of his most impressively tangled rhyming ever, and I think that maybe he's onto something.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Mach-Hommy - "Gastronomie" (ft. Tha God Fahim)</b></div><div style="text-align: left;">I've lost track of Mach-Hommy post <i>Pray for Haiti</i>, but his verse on this makes me not mind having to sit through a God Fahim verse to get to it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Mike Dimes - "HOME (Remix)" (ft. JID)</b></div><div style="text-align: left;">If you're hoping that JID rips this track apart, I've got good news for you...</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Miranda Lambert - "Tourist"</b></div><div style="text-align: left;">One of these days I'm going to get really into Miranda Lambert. I like everything I've sampled, and "Tourist" is no different. This breezy, low-stakes song is a great listen that doesn't have that mainstream country effect of making me feel like I'm five seconds away from getting lynched.</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>MJ Lenderman - "You Are Every Girl to Me"</b></div><div style="text-align: left;">I never really fully dove into <i>Boat Songs</i>, but I did gravitate towards the songs that had more of a pulse on first listen: "Hangover Game," "SUV," "You Are Every Girl to Me," and "Taste Just Like It Costs." "You Are Every Girl to Me" is a perfect distillation of the Wednesday guitarist's appeal, as it stacks fuzz-addled, country-fried guitars on top of each other. You could play spot-the-reference and hear the resemblances to Dinosaur Jr., Built to Spill, and Crazy Horse if you want to -- it's all there. But you can also sit back and let those riffs and the song's secret sentimental streak wash over you.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>MUNA - "Handle Me"</b></div><div style="text-align: left;">When "Silk Chiffon," MUNA's hit song with Phoebe Bridgers, was all the rage on the internet last year, I did not understand it at all. I still think that song sounds corny as hell, but I'm a huge fan of "Handle Me," which is perfect "lose your virginity on a WB show" music.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>NLE Choppa - "Shotta Flow 6"</b></div><div style="text-align: left;">I don't think I've ever listened to Shottas Flow 1 through 5, but somehow I was still able to follow the plot on this one.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Open Mike Eagle - "Burner Account" (ft. Armand Hammer)</b></div><div style="text-align: left;">Usually if you invite Billy Woods to give a feature verse, you do it with the knowledge that you're probably going to get killed on your own track, but Open Mike Eagle manages to get my favorite verse off on this song. I usually don't take to his staring-at-my-shoes delivery, but there's a confidence here that works well on him. Woods comes close with this though: "In the studio, talkin' crazy for a check / Stephen A. Smith, brother said he gotta get it while it's there to get."</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Oso Oso - "Father Tracy"</b></div><div style="text-align: left;"><i>Sore thumb </i>didn't work for me as well as <i>Basking in the Glow</i> or <i>The Yunahon Mixtape</i> did, but it grows on me with every listen. Oddly enough, my favorite track is the sort of oddball "Father Tracy," which has this tropical vibe that almost makes it sound like a Jimmy Buffet song. But despite that, it's just too hard to deny how great it is when the song explodes into a classic Oso Oso chorus.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Panda Bear & Sonic Boom - "Everyday"</b></div><div style="text-align: left;">I was never much of an Animal Collective guy back in their heyday, but I loved the warped, loop-heavy interpretation of 60s pop on this Panda Bear & Sonic Boom album. It was the soundtrack to lots of work from home days this fall.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Pet Fox - "Checked Out"</b></div><div style="text-align: left;">I had a Pet Fox song on last year's list that was sick and now this year I have a Pet Fox song that's sick. I think they just make sick songs. The way the lead singer hits that "<i>Checked</i> out" in a sharp way on the hook is one of those small choices that makes a huge difference.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Phoenix - "Tonight" (ft. Ezra Koenig)</b></div><div style="text-align: left;">Somebody on a podcast I listen to recently said that Phoenix has more great songs than The Strokes do. That's just insane. It also has nothing to do with this song, but I just needed to voice my disgust with that opinion. Phoenix have many great songs (not more than The Strokes, mind you) and this one that features Ezra Koenig from Vampire Weekend is another great one. I'm past the point of listening to full Phoenix albums -- although I hear <i>Alpha Zulu</i> is their best in a while -- but I can always count on them to deliver a home run single.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Plains - "Problem With It"</b></div><div style="text-align: left;">Longtime readers of this blog know well by now that Katie Crutchfield of Waxahatchee is one of my favorite artists working today, so of course I enjoyed her low-stakes side project she dropped this year with Jess Williamson under the name Plains. "Problem With It" is a wonderful slice of 90s country pop that's the most immediate song on the record, and it's a terrific display of Crutchfield's unmistakable voice and melodies.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Powers Pleasant - "Overseas" (ft. Maxo Kream, Kenny Mason, Erick the Architect & Bas)</b></div><div style="text-align: left;">I do love a good posse cut.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Pusha T - "Dreamin of the Past"</b></div><div style="text-align: left;"><i>It's Almost Dry</i> is the first time I found myself becoming a little tired of Pusha T's whole deal, and the Kanye West of it all certainly didn't help. But Kanye's beat on this is so killer it doesn't matter that it's some of the most horribly mixed mainstream music I've ever heard, and Pusha T doesn't miss his shot when given this fastball.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Ravyn Lenae - "Satellites"</b></div><div style="text-align: left;">There's already another song on the Ravyn Lenae album called "Lullabye," but that would've been a great title for the gorgeous reverie that is "Satellites." I don't even know how you make a song this beautiful and soothing.<br /><b><br /></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Rina Sawayama - "This Hell"</b></div><div style="text-align: left;">The latest Rina Sawayama album seems to have flopped compared to the positive reception her previous one got, but I found some enjoyment in the songs I checked out. Sawayama's voice and willingness to go big and weird is reminiscent of Lady Gaga, and following that analogue, "This Hell" sounds like her "Bad Romance."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Roc Marciano - "Quantum Leap"</b></div><div style="text-align: left;">The godfather of the current dust rap movement came through with an album that showed everyone he's still better than the many rappers he fathered. I thought about quoting the most memorable lines on "Quantum Leap," but I was just grabbing the whole song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Rolling Blackouts Coastal Fever - "Blue Eye Lake"</b></div><div style="text-align: left;">What makes Rolling Blackouts Coastal Fever stand out is their three-guitar jangle rock assault, but their best work often comes from when they let their foot of the gas a little bit, like they do on "Blue Eye Lake." The song rests just above midtempo, giving those guitars a little more space to stretch out, and the results are sublime. That little "you can ride the back of a star and go anywhere" bit in the pre-chorus gets me revved up every listen.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Rome Streetz - "Soulja Boy" (ft. Conway the Machine)</b></div><div style="text-align: left;">Rome Streetz is another great Griselda affiliate doing the whole 90s tough talk revival thing. He sounds alot like Big L. I was going to choose "Serving," as my pick because him and Boldy James both drop complex and vivid verses over a trilling piano loop, but the thorough dressing down that Conway gives of an imaginary enemy in his verse on "Soulja Boy" is a marvel. "I can look at you and tell you never sold a brick in your life" is only the beginning.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sada Baby - "Saynomo"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;">My Sada Baby love faded ever so slightly this year. He just puts out so much music that he feels a little burnt out creatively and has lost some of that ferocious unpredictability that made him so exciting when he first arrived. Despite all of that, <i>Bartier Bounty 3</i> is still a pretty good record and when I returned back to it after some time away, I remembered how much I liked it.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Scorcher - "Ops" (ft. Tion Wayne)</b></div><div style="text-align: left;">I used to have such a huge aversion to any British rap, immediately scrunching my nose up as soon as I heard somebody with <i>that</i> accent trying to sound hard. I don't know what changed in the last few years, but I love all the grime and British drill that bubbles up over here. The kooky slang, the "bruv"s, the skeletal club beats; it's endlessly amusing to me. Listen to this song, whose hook is basically "All these enemies, all these ops" over and over, and tell me it's not a total delight.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Short Fictions - "Crushed Cigarettes (A Herculean Effort for Naught)"</b></div><div style="text-align: left;">Short Fictions' sophomore album was a step up from their already promising debut, and it's on the back of songs like "Crushed Cigarettes," a gigantic tune that hits like a tsunami once that chorus riff starts cranking up.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Silverbacks - "Nothing to Write Home About"</b></div><div style="text-align: left;">When a band gets described as post-punk nowadays, it usually means that they're really boring and cerebral, but Silverbacks are one of the few bands that are post-punk in the indie sleaze, Franz Ferdinand type of way. Their sophomore album <i>Archive Material</i> is another record full of great guitar jams, the best of those being "Nothing to Write Home About," the Talking Heads-esque galvanizing number that arrives right near the end of the tracklist.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sonnyjim - "Barz Simpson" (ft. MF Doom & Jay Electronica)</b></div><div style="text-align: left;">I was not familiar with Sonnyjim and only checked this song out because it contained a new MF Doom verse. The Doom verse is good and I miss him, but I was surprised to be more taken by Sonnyjim himself, whose inward, slyly funny style is really absorbing. And shout out to Jay Electronica for not mentioning Louis Farrakhan for once in his verse.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Stella Donnelly - "How Was Your Day?"</b></div><div style="text-align: left;">Stella Donnelly's <i>Flood</i> really snuck up on me after a few weeks. At first I thought it was quite the letdown, since I loved <i>Beware of the Dogs</i> so much. But while I don't think it's as good as that album, it's full of charmers like "How Was Your Day?" that are sweet, conversational, and have a simple wisdom to them.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Superchunk - "Wild Loneliness"</b></div><div style="text-align: left;">Writing a riff like that and playing it on the acoustic guitar? That's why Superchunk are one of the best to ever do it. Bonus shout out to the equally terrific "This Night," which features Tracyanne Campbell of my favorite band Camera Obscura.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Sweet Pill - "Blood"</b></div><div style="text-align: left;">Sweet Pill are one of the bands currently keeping the spirit of old school Paramore alive (the other band you may hear more about in the next few days...). I couldn't be more jazzed about this. "Blood" has a groove that's heavier than anything Paramore did, but that ability to get a little raw while keeping a sense of delicacy has Paramore written all over it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>SZA - "Good Days"</b></div><div style="text-align: left;">"Good Days" has technically been out since the end of 2020, and there are lots of wonderful songs from <i>SOS </i>that I could highlight instead: "Gone Girl," "Ghost in the Machine," "F2F," "Far," "Special," you name it. But it's not my fault that SZA took so long to put this album out that one of the singles is two years old. "Good Days" is incredible, and it'd be a shame if I let a little thing like time keep me from putting it on this list.<br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Talker - "My Meds"</b></div><div style="text-align: left;">I honestly can't stand this trend of pop singers talking about going to therapy, taking meds, and learning to love themselves. I'm glad you're bettering yourself, but save it for the diary! However, I contain multitudes and love the melody and simplicity of this song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Taylor Swift - "Would've, Could've, Should've"</b></div><div style="text-align: left;">I've Stockholm Syndrome'd myself into thinking <i>Midnights</i> is borderline great, and that opinion is helped by the fact that the <i>3AM Edition</i> is full of total winners. It's actually a bit baffling that she left most of these songs off the standard edition. I have more to say about "Would've, Could've, Should've" for a special project I'll be working on in 2023, so I'll save that for then, but for now I'll just say that I love it when Taylor Swift goes scorched earth.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>They Are Gutting a Body of Water - "kmart amen break"</b></div><div style="text-align: left;">Band names are getting out of control, but forget about that for a minute. If somebody played you the first few seconds of this song and then the last few seconds of it, you'd be amazed that they came from the same track and that those two chunks connect somehow. I applaud that kind of insanity.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Tone Tone - "Amazzon" (ft. E40 & Sada Baby)</b></div><div style="text-align: left;">E40 heard another rapper with a funny voice and said "I have to get a feature."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Trapland Pat - "Put That Shit On"</b></div><div style="text-align: left;">As much I hate to say it, South Florida doesn't have a very impressive rap scene. Even somebody like Denzel Curry, who should be right in my wheelhouse, has never moved the needle for me. So it was nice to learn about Trapland Pat earlier this year. "Put That Shit On" and many of the other best tracks on his album recall T.I. or Cash Money more than anything that popping off today.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Wet Leg - "Supermarket"</b></div><div style="text-align: left;">Wet Leg and I have been on a journey and a half together. I hated their mini-viral hit "Chaise Lounge," and what I hated even more was their fans' insistence that they're so fun and anyone who doesn't like them is just a grump. But I like fun music! Two women making irreverent indie rock is basically Antonio catnip. The problem is that I just didn't think the songs were all that good. Well, I did always like "Supermarket," which has a wistful air amidst its playfulness. Then about a week ago, I decided to give the whole album another shot after seeing it on so many end of the year lists, and all of a sudden I liked it. I still think "Chaise Lounge" and a few others are a little half baked, but count me in the pro-Wet Leg camp now.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><br /></b></div><div><b>Widowspeak - "While You Wait"</b></div><div>It feels like Widowspeak have been around forever, perennially under the radar and producing solid music whenever I check them out. "While You Wait" has a deadly combination of hypnotizing vocals, lovely New Age keyboards bubbling under the surface, and that crisp guitar chiming in. It's so dreamy.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Why Bonnie - "90 in November"</b></div><div style="text-align: left;"><i>90 in November</i> is a record I would have gotten to if there were a few more weeks in the year, because I was so impressed with the bits of it I checked out. The album's title track in particularly is a total knockout, so warm and inviting. It has a strange power and earthy draw that reminds me of early Big Thief.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div>
<div style="text-align: left;"><b>Wild Pink - "See You Better Now" (ft. Julia Steiner)</b></div><div style="text-align: left;">Not a big Wild Pink guy despite all indications that I should be -- I just wish the guy would actually sing instead of doing that breathy whisper -- but they have my respect for having lots of songs where Ratboys vocalist Julia Steiner sings backup.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Yeat - "Poppin"</b></div><div style="text-align: left;">I have no idea what Yeat is saying on any of his songs, and it's possible I lose brain cells any time I listen to one of them, but this fake Pi'erre Bourne beat goes hard.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Young RJ - "Hands Up" (ft. Boldy James)</b></div><div style="text-align: left;">I see a Boldy James feature, I listen.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Yung Kayo - "down (one kount)"</b></div><div style="text-align: left;">I still haven't been able to fully wrap my head around what Young Thug disciple Yung Kayo is doing here, but it sounds very cool to me.</div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com0tag:blogger.com,1999:blog-2395748504986705619.post-73463643214054923942021-12-31T00:01:00.060-05:002021-12-31T00:01:00.168-05:00My 20 Favorite Television Shows of 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj3ethjNgD1JZKt_ChY3lT5vdK43fd00QdkQQtUJrfO2xnJwh-jyJZ9lDd824I8COfkMz28DcxdK5MtUX4rZbioxBZILIv_UpQvlamJGvTjB7En2Bx9HdRtK8vtdBDCbrt7DE0Osg9oCAWs5oOTamyQod-JLTP1D6EuJOGuqvUu229m6HwEzGT3dueulA=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="281" src="https://blogger.googleusercontent.com/img/a/AVvXsEj3ethjNgD1JZKt_ChY3lT5vdK43fd00QdkQQtUJrfO2xnJwh-jyJZ9lDd824I8COfkMz28DcxdK5MtUX4rZbioxBZILIv_UpQvlamJGvTjB7En2Bx9HdRtK8vtdBDCbrt7DE0Osg9oCAWs5oOTamyQod-JLTP1D6EuJOGuqvUu229m6HwEzGT3dueulA=w400-h225" width="500" /></a></div><br /><div style="text-align: center;"><br /></div><div>Another year, another pandemic-assisted successful attempt to watch less than 100 shows. Last year I watched 93 TV shows, and in 2021 I shaved that number down 87 shows watched in full (meaning I saw every episode the show aired in the calendar year). Most people found themselves watching <i>more</i> TV while staying indoors, and here I am passing by in the opposite direction. I might not even be able to consider myself a television freak anymore. Have I developed any sort of personality in place of that identity? My lawyers have advised me to not answer that question.</div><div><br /></div><div>Maybe part of the reason I watched less was because for a while I thought the television landscape was...pretty lackluster this year, at least until a few bangers came in and saved the day in the 11th hour. Then after some consideration, I realized that my love of the TV drama was skewing my perception, since really it was only a weak year for dramas. Comedy had a good 2021 and it was a <i>great</i> year for anime, so you'll be seeing a larger proportion of both of those groups than usual in this list.</div><div><br /></div><div>Another trend I noticed is a recession of shows that aired on actual, you know, television. 13 of the 20 shows on my final list were available exclusively on streaming services, a count that I think is higher than ever. FX, which used to be my favorite network, only has a place on this list in the form of its FXX sister channel. This would usually spell bad news, as I've gone on at length about the rise of Netflix and its proliferation of soulless, formless storytelling thanks to its binge-above-all mentality, but thankfully the other streaming services have embraced the weekly release strategy. And believe it or not, their shows benefit from it. Who would've thought that the model that worked for decades is still effective? So the dominance of streaming isn't necessarily a negative trend anymore, just an interesting one.</div><div><br /></div><div>Okay, you've read enough of me trying to be like John Landgraf at the TCAs. Let's get to the list.</div><div><br /></div><div><b>The rules:</b> A couple of years ago I implemented a new rule to help account for streaming seasons that got dropped at the end of the year, and I'll be continuing that this year. So for any show whose entire season drops at once, the eligibility window for this list is if that season dropped between December 11, 2020 and December 10, 2021. This is just so I don't go insane trying to catch up on any shows whose whole seasons dropped at the end of the year, even though there weren't any examples that come to mind this year. Thankfully the rules are simpler for shows that air weekly. For those cases, any episode that aired between January 1, 2021 and December 31, 2021 are considered for this ranking.</div><div><br /></div><span><a name='more'></a></span><div><br /></div><div><b>Honorable Mentions (25-21)</b></div><div>Forgive the awful name and you'll quickly fall in love with <i style="font-weight: bold;">The Sex Lives of College Girls</i><span style="font-weight: bold;"> (HBO Max)</span>, whose great cast and wonderful hangout vibe made for a charming debut season. Though it mostly served as a terrific acting showcase for Oscar Isaac and Jessica Chastain, <b><i>Scenes From a Marriage</i> (HBO)</b> also makes fascinating adaptation choices with source material that's considered sacrosanct. After a few missteps in its third season, <b><i>The Bold Type</i> (Freeform)</b> closed things out this year with a truncated but exceedingly lovely final season. Speaking of final seasons, <b><i>Dickinson</i> (Apple TV+)</b> ended with its third season (the second season aired earlier this year as well), and it remained as singular and passionate as Emily Dickinson herself. <b><i>How To with John Wilson</i> (HBO)</b> continues to find ways to amuse and surprise with its visual essays that start on a single subject and then seem to encompass the whole world by the end.</div><div><br /></div><div><br /></div><div style="text-align: center;"><b>20. Hacks (HBO Max)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiBWYUzKUyebDlocJcXogpELjTGU_3Sb1Ll752OYhWmUlAm8y5hEAnqEDNZKJfw7DIChEvK2O4sFTZGVPRtgU52Q25I9o4ZqODWNcZXkeJ-0DOpxcrCoiwQ_3zdVFo6QqW5xBuMrKGBMoNCTAi8bBb1DFk72MKpOpSnGtxrSCXrMZtN6gJidTDlUSnCSA=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiBWYUzKUyebDlocJcXogpELjTGU_3Sb1Ll752OYhWmUlAm8y5hEAnqEDNZKJfw7DIChEvK2O4sFTZGVPRtgU52Q25I9o4ZqODWNcZXkeJ-0DOpxcrCoiwQ_3zdVFo6QqW5xBuMrKGBMoNCTAi8bBb1DFk72MKpOpSnGtxrSCXrMZtN6gJidTDlUSnCSA=s320" width="450" /></a></div></div><div><i>Hacks</i> isn't exactly working with a new formula. You'll find alot of familiarity in the odd couple dynamic that sets up the show, which follows an aging comedian (Jean Smart) who begins working with a struggling young writer (relative newcomer Hannah Einbinder) to try to enliven her material. What makes it stand out is the depth of that relationship, played beautifully by Smart and Einbinder. There's a push and pull to Deborah and Ava's partnership, challenging one another and inadvertently nudging each other to work on their specific flaws. If that sounds more dramatic than any comedy should be, then have no fear. <i>Hacks</i> is often hilarious too, thanks to creators Lucia Aniello, Paul W. Downs, and Jen Statsky, all of whom have worked on some of the best comedies of the last decade. Like its two protagonists, the drama and laughs make an excellent pairing.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>19. Dave (FXX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9BVZqcpEO8rTxHCtCU1RtgYzgb8NoXo7cfAL59SwaDWZcZbQHBpVs1pdeK75p01tlot1bw4UwbclYnnKhJ56QiAub6CkcVh2sgERH178K_WJIRw2Bye97m9--m-r9n8CI-T7t0ctZ-m0wsEfPyi2iZRfGhsYVlGtUc02A_ZyJdj2H5d4N6B8gtI2ghA=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9BVZqcpEO8rTxHCtCU1RtgYzgb8NoXo7cfAL59SwaDWZcZbQHBpVs1pdeK75p01tlot1bw4UwbclYnnKhJ56QiAub6CkcVh2sgERH178K_WJIRw2Bye97m9--m-r9n8CI-T7t0ctZ-m0wsEfPyi2iZRfGhsYVlGtUc02A_ZyJdj2H5d4N6B8gtI2ghA=s320" width="450" /></a></div></div><div>Proving that the success of its first season wasn't just a fluke, <i>Dave </i>came back with a second season that rivaled its predecessor. The show continues to deliver big laughs with its goofy, playful sense of humor and absurdist perspective on the music industry. It also does a wonderful job of giving all its main characters meaningful arcs. This season tracing Dave's inability to come up with material for his debut album, coupled with his ego deteriorating his relationships, was not only skillful as it went along, but it led to a satisfying conclusion in one of the year's best finales. It's time to stop being surprised by <i>Dave</i> -- it's just flat-out great television.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>18. The Pursuit of Love (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEin7HlwNPFHWLnVgIgSlvxvcsz4sUcCp8svRGZUd1d9iqvLzuj0kzOHdPCn9v_NK-oMT_ehUL6rRwQg0Yc0eWp5R39eJd8Xt2bBzyJxzhYyWIOEMSk96cHl05we2D00rxIfGPQnVIuhs2XdQLynHqK2L_29vlWAP7HNYx1u84FN1uCUhOluroW--JWp6Q=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEin7HlwNPFHWLnVgIgSlvxvcsz4sUcCp8svRGZUd1d9iqvLzuj0kzOHdPCn9v_NK-oMT_ehUL6rRwQg0Yc0eWp5R39eJd8Xt2bBzyJxzhYyWIOEMSk96cHl05we2D00rxIfGPQnVIuhs2XdQLynHqK2L_29vlWAP7HNYx1u84FN1uCUhOluroW--JWp6Q=s320" width="450" /></a></div></div><div>Nail the central relationship in a series and the rest comes easy. <i>The Pursuit of Love, </i>Prime Video's three-part adaptation of the 1945 novel of the same name, does just that as it tells the story of Fanny and Linda, two cousins whose lives take divergent paths as they grow up. It's a joy to see them remain fervently devoted to one another despite contrasting personalities and life philosophies, and Lily James and Emily Beecham play their dynamic in a way that feels lived-in. Though the three episodes are laced with wit and charm, there's an undercurrent of melancholy to them as well, as they explore the struggle to find happiness in an age where womanhood has such narrow parameters. Blending a sense of modernity with classic storytelling chops, <i>The Pursuit of Love</i> captures the heart in a short amount of time.</div><div><br /></div>
<div><br /></div><div style="text-align: center;"><b>17. The Good Fight (Paramount+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7aUEMAUp54t3wiGPdVVECaX_L2BgP6AWOPValLEgKVXz0cYQItUuaMwlFvFHdqXHhxEoEmtkGMuLnU2dz5scYwwQaHYXkuUAbeZoxjdnUCrmiY_1qeIaDM9JbxuIoKg1dVEXzN3UxOu_BvO4SSka59Jh8mkxUYqyVKwDnzFeK1J9GGwWSHrmGiBjcNQ=s1288" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="1288" height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7aUEMAUp54t3wiGPdVVECaX_L2BgP6AWOPValLEgKVXz0cYQItUuaMwlFvFHdqXHhxEoEmtkGMuLnU2dz5scYwwQaHYXkuUAbeZoxjdnUCrmiY_1qeIaDM9JbxuIoKg1dVEXzN3UxOu_BvO4SSka59Jh8mkxUYqyVKwDnzFeK1J9GGwWSHrmGiBjcNQ=s320" width="450" /></a></div></div><div><i>The Good Fight </i>has always been a show that likes to take risks, getting playful with the directions their story goes, and in the fifth season they made their most wacky turn yet: introducing a character played by Mandy Patinkin who starts his own unsanctioned court run out of the back of a copy shop. Only a show like this could have the confidence to pull off something that ludicrous, and they do so beautifully, escalating things gradually enough that you feel like a frog in boiling water, not realizing how insane things are until they've gotten too far. It helps that the show counterbalances this with more serious storylines, like one character's trauma from having a near-death COVID experience, or exploring what it means to be a white partner at a black law firm. There's something about season fives in the <i>Good</i> universe -- it was arguably <i>The Good Wife</i>'s best season, and this season of <i>The Good Fight</i> might go down as one of the show's best as well.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>16. Search Party (HBO Max)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg6H4vKa6wpm6hMmta1Q2AkaL_OiiZ1CNHAIc-bZ4RmZBdg7PPdxEMu5F4Mq1QSm8bp1-f-hCfUkMQawVjax85aHbT6PvAPpQw4n6jtjMC5nhyZngGEdEeIy8U7EVSNdexOzwVvipa--DoZy8q7oSk8jtT-4umVPG5rOag7awjwVOXmAlRSbAt8Zau1sQ=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEg6H4vKa6wpm6hMmta1Q2AkaL_OiiZ1CNHAIc-bZ4RmZBdg7PPdxEMu5F4Mq1QSm8bp1-f-hCfUkMQawVjax85aHbT6PvAPpQw4n6jtjMC5nhyZngGEdEeIy8U7EVSNdexOzwVvipa--DoZy8q7oSk8jtT-4umVPG5rOag7awjwVOXmAlRSbAt8Zau1sQ=s320" width="450" /></a></div></div><div><i>Search Party</i> had a premise that didn't seem like it was built to last, but what started as a missing person mystery has evolved past that in fascinating ways. This black comedy has achieved that by stretching both ends of its darkness and its satire, proving that the show can handle it thanks to confident storytelling and a main cast that may be the best foursome going right now. It's marvelous that a season that contained a disturbing, <i>Misery</i>-influenced kidnapping storyline could also achieve an episode like "The Infinite Loop," one of the funniest half-hours of the year. You might not have guessed that it would last this long, but season four of <i>Search Party</i> managed to push the show to its greatest heights yet.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>15. Servant (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgf9qlGYNPn-_spKPw6ecLMYOnGNfY3U4NMyNwOtdbfvgldt8eSD9ej93aQ9dUgzxjXEtivZq5s--Dqhs-7GYYos2t-iGMEaSYX1wrQuB9Z7t885_zgU9Uqt_LXqhwR27UanQXF7-T8DLTd3e_aqWyPBh-dJLaM4-Syb_tlLA6vLfyK5SoPVbazoxfB1w=s1024" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="668" data-original-width="1024" height="294" src="https://blogger.googleusercontent.com/img/a/AVvXsEgf9qlGYNPn-_spKPw6ecLMYOnGNfY3U4NMyNwOtdbfvgldt8eSD9ej93aQ9dUgzxjXEtivZq5s--Dqhs-7GYYos2t-iGMEaSYX1wrQuB9Z7t885_zgU9Uqt_LXqhwR27UanQXF7-T8DLTd3e_aqWyPBh-dJLaM4-Syb_tlLA6vLfyK5SoPVbazoxfB1w=s320" width="450" /></a></div></div><div>Season two of <i>Servant</i> stayed the course established by the first season as one of the oddest and most eerie shows on television, improving on some of the wheel-spinning found in the latter and having more confidence in its tone. That tone is what makes the show so unique, an off-kilter mixture of dark humor and supernatural horror. And it's only enhanced by the impressive roster of directors who helm each episode, including Nimrod Antal, <i>Titane</i> filmmaker Julia Ducournau, and the god himself, M. Night Shyamalan. Their strange visual style and inventive staging push the askew nature of the show to its absolute limit. <i>Servant </i>is a series that defies explanation, you just have to watch it and enjoy the nutso ride.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>14. Mythic Quest (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiufs2p3HI_6xskzhJu05rkTuJ_S96-7RsJep_n_nhw_h6WQJfEKgh_qWxdxvOvuNCsu9k2_UlZYHs6OkemGwQxrFZpyXeGDWOApDCZfJFk7FmRfQKFFewJZs1Shc6gTckydtpNzZxw0LGd5PWD7D0ZdvLajjqbZyKW3USciszDUVJ-dvH18QY7CiESBw=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiufs2p3HI_6xskzhJu05rkTuJ_S96-7RsJep_n_nhw_h6WQJfEKgh_qWxdxvOvuNCsu9k2_UlZYHs6OkemGwQxrFZpyXeGDWOApDCZfJFk7FmRfQKFFewJZs1Shc6gTckydtpNzZxw0LGd5PWD7D0ZdvLajjqbZyKW3USciszDUVJ-dvH18QY7CiESBw=s320" width="450" /></a></div></div><div>In the year of our lord 2021, the traditional sitcom is inhaling some of its last breaths of air. Not only are there less network sitcoms in existence these days, but almost none of the ones that are still around are any good. Part of the appeal of <i>Mythic Quest </i>is that were it not for all of the cursing, it feels like it could exist on an NBC comedy block. In fact, the show bears alot of resemblance to <i>Community</i>, both in its character dynamics and its willingness to get experimental with episode formats. Though the show came out of the gate pretty fully formed, it reached a new level in its sophomore season, upping the laughs by finding new character combinations while also exploring the central relationship between Ian and Poppy more. And once again the season delivered with formula breaking stories, this time doubling the amount from last season's one flashback episode to another flashback episode as well as a wonderful bottle episode. No other show is balancing conventional comedy beats with expanding the boundaries of what the show can do better than <i>Mythic Quest</i> right now.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>13. PEN15 (Hulu)</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjNJFx5eFJyU3sOPeBHMghvicAzmwbUdcGW0Muept_uvkqq0JsPaU0TroSZTAxT2-VlXQ4BzP9NJqwYoh_Sm9e53T7HvHJXjnyAhE_3u68mD21IvsgR0I1N4h16YJNjgk1kgv2yZoKGk1hLWbQUHeN3VLp2Ax3baC-gjMajgdDgjWnxZl3m5aWibTObIg=s3000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1687" data-original-width="3000" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEjNJFx5eFJyU3sOPeBHMghvicAzmwbUdcGW0Muept_uvkqq0JsPaU0TroSZTAxT2-VlXQ4BzP9NJqwYoh_Sm9e53T7HvHJXjnyAhE_3u68mD21IvsgR0I1N4h16YJNjgk1kgv2yZoKGk1hLWbQUHeN3VLp2Ax3baC-gjMajgdDgjWnxZl3m5aWibTObIg=s320" width="450" /></a></div>At the end of November, a week before its new half season was set to drop, the news broke that <i>PEN15</i> would be voluntarily coming to an end with this latest batch of episodes. In a way it was a fitting method of ending, as surprising and unassuming as it came along. If this final set of episodes wasn't quite up to the peak of what we've seen from the show, it's only because its first 17 episodes were <i>Freaks and Geeks-</i>level coming-of-age dramedy. It was still terrifically funny and moving television, so precisely attuned to the specifities of its two main characters and the universal broad strokes of the adolescent experience. <i>PEN15</i> may have had a short run, but something tells me its tail of influence will be very long.<div><br /></div><div><br /></div>
<div style="text-align: center;"><b>12. Ranking of Kings (Funimation/Japan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj5ATdK1vzNDKJCgSH3_JZCMyzu5-z3YH-9NNpBh2RSAGn8QPD2ioJ4I4Tv_Me4fgXRaK30fEEeCRAGAT9HTxNl5q5lf1oB8CuPZKFYmJy8rrsdSXOAi-kgvRlwAa3OgHUoTeNoz-v7s6wTEQm-JEs48BMwPs4sn3W8VC4xDHZI11iUdKSE3RfCw--jPA=s640" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEj5ATdK1vzNDKJCgSH3_JZCMyzu5-z3YH-9NNpBh2RSAGn8QPD2ioJ4I4Tv_Me4fgXRaK30fEEeCRAGAT9HTxNl5q5lf1oB8CuPZKFYmJy8rrsdSXOAi-kgvRlwAa3OgHUoTeNoz-v7s6wTEQm-JEs48BMwPs4sn3W8VC4xDHZI11iUdKSE3RfCw--jPA=s320" width="450" /></a></div></div><div>When Japan's WIT Studio relinquished their duties animating <i>Attack on Titan</i> before its final season, it seemed like a major blow to anime. What we didn't know at the time was that it would clear the runway for them to make shows like <i>Ranking of Kings</i>, whose storybook style feels unlike anything else on at the moment. Like WIT's previous tentpole series, it's a staggeringly complex show, just in different ways. You might think you recognize its character archetypes when they're first introduced, but all of its cast begin to upend your expectations for them as they reveal unforeseen depths. Its art style follows suit in that regard -- assume it's simple at your own risk, but be prepared to quickly realize that this team is still capable of producing fluid, dazzling animation. We're only halfway though the first season of <i>Ranking of Kings</i>, but it feels like it's a fantasy classic in the making.<br /><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>11. I Think You Should Leave (Netflix)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj5TlOHJhzHo5i7K6tNs55iVumn8L1ENVAcGyUZLEoZwxFneKkhCRyKagWDde9Irxmln9oHG-qPzz_DvNE4MvTFDoo24TAe-3BPye2QiP8NEhVFoTr4L7zyQpnVtVYBPS4NmeR961JpSruzPn3Rp0efRJX5yG06B7DtsFxbw23cRX1s9RccW7tVyF4weQ=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="800" height="252" src="https://blogger.googleusercontent.com/img/a/AVvXsEj5TlOHJhzHo5i7K6tNs55iVumn8L1ENVAcGyUZLEoZwxFneKkhCRyKagWDde9Irxmln9oHG-qPzz_DvNE4MvTFDoo24TAe-3BPye2QiP8NEhVFoTr4L7zyQpnVtVYBPS4NmeR961JpSruzPn3Rp0efRJX5yG06B7DtsFxbw23cRX1s9RccW7tVyF4weQ=s320" width="450" /></a></div></div><div>Chaos is the name of the game in <i>I Think You Should Leave</i>. Most of the sketches start with an absurd premise and only get more insane, all thanks to the off-putting weirdos that Tim Robinson plays with aplomb in each of them. Like all sketch shows, not everything it tries works, but not only is the hit rate higher than most of its peers, the successful sketches are rib-cracking in their hilarity. It helps that the show has the wisdom and brevity to get in and out in about 15 minutes, before things get stale. Season one of <i>I Think You Should Leave </i>might still be more popular due its novelty and meme factor, but season two was funnier and more consistent.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>10. The Heike Story (Funimation/Japan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj4w_QFb9uYRvpoD5TPcGzDUCKVSiCwyUYQRIaYNSOr-accy9dloKVPWtXHQdzch2rnE2NeBj2IF2hhOKUuoGtzBuqWq165NVeoFTN4J58LulJV_Bl1xYmbieRccxEPQS3nBLW9_J70rqBLHeAJowmloEvYPQPMwFgOWPS7inZRiB3KCkpGZkFAyibb1Q=s720" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEj4w_QFb9uYRvpoD5TPcGzDUCKVSiCwyUYQRIaYNSOr-accy9dloKVPWtXHQdzch2rnE2NeBj2IF2hhOKUuoGtzBuqWq165NVeoFTN4J58LulJV_Bl1xYmbieRccxEPQS3nBLW9_J70rqBLHeAJowmloEvYPQPMwFgOWPS7inZRiB3KCkpGZkFAyibb1Q=s320" width="450" /></a></div></div><div>The announcement of <i>The Heike Story</i> marked a huge shift in the anime world. It confirmed the rumors that Naoko Yamada, one of the industry's most revered and influential directors, had left Kyoto Animation where she had worked her whole career. Her first series under arthouse studio Science SARU (home of great shows like <i>Keep Your Hands Off Eizouken!</i>) was an adaptation of historical epic, <i>The Tale of the Heike</i>, which chronicles the fall of the Taira clan in 13th century Japan. That story is one that's well known to most Japanese citizens, so the anime assumes you have a baseline knowledge as it presents an overwhelming amount of characters and relationships. But that initial information overload is hardly a hinderance when Yamada is throwing so many <a href="https://blog.sakugabooru.com/wp-content/uploads/2021/04/liz64.jpg">gorgeous</a> and <a href="https://pbs.twimg.com/media/E_V7jn9XoAY-Q6R?format=jpg&name=4096x4096">visually striking</a> images at <a href="https://pbs.twimg.com/media/E_V7lrCXsAsIUHe?format=jpg&name=4096x4096">the viewer</a>. And once you adjust yourself to the all of the players and their allegiances, the story develops into a moving tragedy about loss and dealing with immeasurable suffering. If <i>The Heike Story</i> is any indication, then this is the start of a thrilling new phase for one of the medium's greatest talents.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>9. Attack on Titan (Funimation/Japan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgB8LkKp3dw9i3yBUwhiJw3MiYwzcxyb1-XWSCxm7ua0hZyFMMGMnWCLMS5jlyOro5r1PLnvG02l-ZwPCwgj5HzpbtxMKLAaW2sVvHttB7YHDrNERtZwS6RKFRahQjXpQCawxrFDwkdakCJpZ7b-R9ay8UTgZhf8zw2QEGU_VTmykWIyyhVaU0fbYqwXA=s780" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="780" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEgB8LkKp3dw9i3yBUwhiJw3MiYwzcxyb1-XWSCxm7ua0hZyFMMGMnWCLMS5jlyOro5r1PLnvG02l-ZwPCwgj5HzpbtxMKLAaW2sVvHttB7YHDrNERtZwS6RKFRahQjXpQCawxrFDwkdakCJpZ7b-R9ay8UTgZhf8zw2QEGU_VTmykWIyyhVaU0fbYqwXA=s320" width="450" /></a></div></div><div>As <i>Attack on Titan</i> has gone on it's only become more impressive -- with the scope of its serialized storytelling becoming clearer, we've gotten a macro view of its masterful plotting, clever foreshadowing, and surprising character turns. The first half of the final season cracked the world of the show wide open, focusing on the society that exists outside the walled cities we've seen the main characters protect for the entirety of the series beforehand. And with that expansion, the writing continued to mix the psychological exploration of life during wartime with pulse-pounding political intrigue. <i>Attack on Titan</i> was on fire this year, so much so that a slight dip in animation quality couldn't even detract from this season's storytelling power.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>8. Wonder Egg Priority (Funimation/Japan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBmKjB-KiuGy3xL1divZbQq5Bso0MxC1_teJT3ALXWFUHipGMkGcmlb7x227rqKC80zeUL0zlqLXikFDSYlm71asdLDZYTZsEYYAafdScTEgCX7PkfeGY7XTgyhvArt6DY9TgEfrr-yoofzYQQGqGQto_1XHdKst6CI3ereN3avUENKwGpPviIIm00mQ=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBmKjB-KiuGy3xL1divZbQq5Bso0MxC1_teJT3ALXWFUHipGMkGcmlb7x227rqKC80zeUL0zlqLXikFDSYlm71asdLDZYTZsEYYAafdScTEgCX7PkfeGY7XTgyhvArt6DY9TgEfrr-yoofzYQQGqGQto_1XHdKst6CI3ereN3avUENKwGpPviIIm00mQ=s320" width="450" /></a></div></div><div>For some anime fans, hearing the phrase "Wonder Egg Priority" sets their hairs on end. The show was a work of staggering ambition, which led to <a href="https://internationalnewsagency.org/this-was-the-chaotic-production-of-wonder-egg-priority/">a mountain of production issues</a> that caught up to the finished onscreen product in its closing stretch. But in the long view, that won't matter -- after all, <i>Neon Genesis Evangelion</i> is considered a masterpiece despite an ending people hated at the time. <i>Wonder Egg</i>, which follows a teenage girl coping with the recent suicide of her best friend, had a quality that you rarely see in TV anime, overflowing with gorgeous character animation, surreal imagery, and heartbreaking insights into what it means to be a young woman. This might not be a starter-level anime -- see pick number nine if you want that -- but for the well-initiated, it's a challenging artistic achievement.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>7. The Other Two (HBO Max)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEguE5i8MsjFhrcoLBw8drPfvixpX_TqUrvzkCDmsNcAWhKZyd8JMmSQKU_7eKDdGFI_us_c-nEE3r9cwnw8W2Z2A781MDPqQX-BljqOV6_OrHjUbgaUYpEOwEk1JBuaGIe8gxf_T_V2NU7fIvbGuAiJPftfIB1nfAyNonkmdZDgStJSjuTRgw5oRnqWyw=s681" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="681" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEguE5i8MsjFhrcoLBw8drPfvixpX_TqUrvzkCDmsNcAWhKZyd8JMmSQKU_7eKDdGFI_us_c-nEE3r9cwnw8W2Z2A781MDPqQX-BljqOV6_OrHjUbgaUYpEOwEk1JBuaGIe8gxf_T_V2NU7fIvbGuAiJPftfIB1nfAyNonkmdZDgStJSjuTRgw5oRnqWyw=s320" width="450" /></a></div></div><div>Between its first and second seasons, <i>The Other Two</i> moved from Comedy Central to HBO Max, and hopefully it has gained more exposure in its transition to the streaming juggernaut, because the funniest comedy on television needs as many eyes on it as possible. The show continues to use its premise -- following two siblings (Helene Yorke and Drew Tarver) floundering while their younger brother becomes a famous pop star from a viral video -- to generate some of the most hilarious showbiz plots you'll ever see. If you're a pop culture junkie (and if you're wasting your time reading this list, you likely are), many of the jokes will be so laser-targeted that it will feel like it's being written solely for you. It's not just a joke machine either; there's a genuine heart at the core of the hijinks that keeps the show from dissolving in your mind after it's over. </div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>6. The Baby-Sitters Club (Netflix)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibzYJMYpU6LnYVoCP5VzAryS3SGZmlVIGGroGYUWd8s71C9pGvhgsqggYTnUjt1X2kvWFr036odHrpPNGFw-_ZkLY7FcOc6aQaXN6UIQK1oGthMdNDyJisnG8cW-VPuB3jZsyO4iixR2WBpIPjWSL37PaB9PgyGYHH-3FnAyS62BC-SgveVx0o9tpJGA=s1014" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="1014" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEibzYJMYpU6LnYVoCP5VzAryS3SGZmlVIGGroGYUWd8s71C9pGvhgsqggYTnUjt1X2kvWFr036odHrpPNGFw-_ZkLY7FcOc6aQaXN6UIQK1oGthMdNDyJisnG8cW-VPuB3jZsyO4iixR2WBpIPjWSL37PaB9PgyGYHH-3FnAyS62BC-SgveVx0o9tpJGA=s320" width="450" /></a></div></div><div>Netflix's adaptation of the formative book series <i>The Baby-Sitters Club</i> felt like a miracle in its first season -- the rare all-ages television show that was smart and wholesome, but didn't talk down to its audience. It was satisfying to fans of the books while also serving as a wonderful entree to those unfamiliar with its characters and world. Of course with all miracles, there's the worry of when it will all fall apart, but luckily it doesn't seem like that's happening any time soon here. Season two of <i>The Baby-Sitters Club</i> was just as good, if not better, than the first, continuing to tell funny, charming stories that make great use of its cast of characters and their amazing chemistry. Not even having to replace Xochitl Gomez as Dawn due to her getting cast in the new <i>Doctor Strange</i> film could deter them, as Kyndra Sanchez steps in and grows the character in fun and surprising ways. Netflix shows tend to end after three or four seasons, which would be a true shame, since this would last forever if I had anything to say about it.</div><div><br /></div><div><br /></div><div style="text-align: center;"><b>5. The Underground Railroad (Prime Video)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhV8xKZk39r04I4bp4tDnzRJ_HaFgIR_7jS8pchNu5Ef0kVIeNpTwRVBQAfwIMJxISOydMbl1EDAbVjpMUrUgUCnkjtRN5aYBIGi-0lHjbNTXkv-9lD_18kp3qP4UTv6qoKQmXrwlhXnByMxteJk1BrLugsG8Y-iKt1up-B7wY4u5mWtkZf8mk9TeEaPA=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEhV8xKZk39r04I4bp4tDnzRJ_HaFgIR_7jS8pchNu5Ef0kVIeNpTwRVBQAfwIMJxISOydMbl1EDAbVjpMUrUgUCnkjtRN5aYBIGi-0lHjbNTXkv-9lD_18kp3qP4UTv6qoKQmXrwlhXnByMxteJk1BrLugsG8Y-iKt1up-B7wY4u5mWtkZf8mk9TeEaPA=s320" width="450" /></a></div></div><div>There are many TV shows out there that are visually impressive, but as a whole the medium of television still feels firmly in second place behind film when it comes to what can be accomplished with the camera. So it was a big deal when it was announced that Barry Jenkins (<i>Moonlight</i>, <i>If Beale Street Could Talk</i>), one of America's best filmmakers, would be adapting Colson Whitehead's Pulitzer Prize winning <i>The Underground Railroad</i> as a Prime Video miniseries. <i>The Underground Railroad</i> lives up to its high expectations, delivering some of the most formally rigorous and visually sumptuous filmmaking ever seen on the small screen, as it charts out the tumultuous journey to freedom that runaway slave Cora embarks on. Jenkins has an excellent handle on the variation in style a story like this requires: His observant camera captures the brutality of slavery with an unflinching sobriety, but he's also able to nail the dreamlike imagery of its more magical realist elements. Expanding on the novel's ideas and characterizations, the series' themes come into sharp focus towards the end, as it digs into how trauma and certain societal structures still remain even in liberation. Just when it felt like we've strip-mined all we could out of slavery, <i>The Underground Railroad</i> comes along and feels startlingly vital.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>4. Station Eleven (HBO Max)</b></div><div style="text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhdMRLkfPNrE8xvX3ImIyI4h4jUsq13jH9NeElKZU4o76bQjTSmEXdCoPujoRzhbAdCi4FEIVR-NODzGO03wqGcUWEN-o5j38LWIOesKVL6VfU8GiIaFC2UGh-sFznvuvBIx34_GZxMKzxIdxyn29nAoVgkzp6nzqE1a71HD0-O7V0yg_Qb2a6n9MPjfQ=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEhdMRLkfPNrE8xvX3ImIyI4h4jUsq13jH9NeElKZU4o76bQjTSmEXdCoPujoRzhbAdCi4FEIVR-NODzGO03wqGcUWEN-o5j38LWIOesKVL6VfU8GiIaFC2UGh-sFznvuvBIx34_GZxMKzxIdxyn29nAoVgkzp6nzqE1a71HD0-O7V0yg_Qb2a6n9MPjfQ=s320" width="450" /></a></div></div><div>When you experience trauma it tends to cleave your life into "Before" and "After" phases. The thoughts you have, the emotions you feel, the worldview you hold; they're all informed by what side of that bifurcation you're on. <i>Station Eleven</i>, which follows a group of performers who travel around the Midwest performing Shakespeare plays after a flu-like pandemic wipes out the majority of the world's population, is all about that kind of trauma in the collective sense. It bleeds together the Before and After, showing the ways its characters have been shaped by this event, all while their lives intersect in strange and beautiful fashion. Along the way, the series becomes a receptacle for any kind of tone, emotion, and storytelling structure, as it takes entire episode detours to focus on side characters or small moments in time. <i>Station Eleven</i> is about what it means to suffer pain so immense that it breaks through and becomes something else entirely, and as a result the show itself is a little disorienting and indescribable. As of the release of this list, only seven out of the miniseries' 10 episodes have aired, but they're beautiful enough that it deserves high placement regardless.</div><div><br /></div><div><br /></div><div style="text-align: center;"><b>3. The White Lotus (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjoX9FrHgTUbAkgP9FrPVRY8DlPfkj0OpCtp8nQkcX_bS9MdGBzAMlu2AiPUp02qaGi9bVOo8zEltB6AiDhdM1bFBud-865Lcwd2SsT7tFOX5tG5fUn89BEvsrlw3OS61_aHeyAh9-0FzEMsrkIGECNnCYq-62XxANVMQodj9RL6_nNc_1wUW074FAhrQ=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1920" height="335" src="https://blogger.googleusercontent.com/img/a/AVvXsEjoX9FrHgTUbAkgP9FrPVRY8DlPfkj0OpCtp8nQkcX_bS9MdGBzAMlu2AiPUp02qaGi9bVOo8zEltB6AiDhdM1bFBud-865Lcwd2SsT7tFOX5tG5fUn89BEvsrlw3OS61_aHeyAh9-0FzEMsrkIGECNnCYq-62XxANVMQodj9RL6_nNc_1wUW074FAhrQ=s320" width="450" /></a></div></div><div>There's a simultaneous love and hatred of humanity that runs through <i>The White Lotus</i>, HBO's summer sensation that marked the return of <i>Enlightened</i> creator Mike White to the network. Consequently, you have to that same mixture of love and hatred of its characters as well. It asks you to laugh at the lack of self-awareness of their gross privilege, but also get emotionally invested in their struggles all the same. The show achieves this through its sheer tonal mastery, ably shifting from comedy to tragedy between different scenes and just as often within the same one. Every episode is structured like a Swiss watch, hanging itself on a complicated web of plotlines that have adroit cause-and-effect implications on one another. It's so entertaining that the surface pleasures would be enough, but underneath that it's also a wise exploration of class disparity, gender roles, and the way that rich liberals can be unaware of how they're part of the problem.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>2. For All Mankind (Apple TV+)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhJfFZX-f8TkpdxRffmikNnt_GKHbQOznTpWq-Xqs9IUCAFDLhred24V46Z5WLpvSXfi0iX7R8fZcOCeM3yA7B8MI_owVpw6SHhKwbG4NhqGuXTnjaowPJauxCC-6kLKNKcMhcDeThF8vtmfMutsGaAo5VVdHjXqByjh8H9uTYekK2quwdUl-d47DQ-LA=s1700" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="1700" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEhJfFZX-f8TkpdxRffmikNnt_GKHbQOznTpWq-Xqs9IUCAFDLhred24V46Z5WLpvSXfi0iX7R8fZcOCeM3yA7B8MI_owVpw6SHhKwbG4NhqGuXTnjaowPJauxCC-6kLKNKcMhcDeThF8vtmfMutsGaAo5VVdHjXqByjh8H9uTYekK2quwdUl-d47DQ-LA=s320" width="450" /></a></div></div><div><i>For All Mankind </i>-- the latest show from <i>Battlestar Galactica </i>and <i>Outlander</i> creator Ronald D. Moore -- had to work out a few kinks in its first season, becoming more intriguing once it revealed its actual premise in episode three, and gradually morphing into an unequivocally good show by the final stretch. Yet this year it proved that it still had greater heights to reach, blasting off into the realm of being one of the best shows on television. <i>For All Mankind</i> is a gripping drama, presenting the richest ensemble in recent memory, one where almost every character has the potential to be your favorite at any given moment. There's a power to watching these complex individuals be put through the emotional wringer dealing with personal and professional failures, which makes it doubly satisfying whenever they come together to accomplish something great. What's more is that season two often engaged in edge-of-your-seat plotting, pushing the alternate history space race stakes to further and more thrilling places. If the show somehow gets better next season -- and the bold place this season's finale left us at certainly signals that's a possibility -- I'm not so sure our brains can handle it.</div><div><br /></div><div><br /></div>
<div style="text-align: center;"><b>1. Succession (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjyD_bgMOAiRRunM_w5GT6fkl9sPxdEU7dM_B_SrpaUqPJzL1w6a2QOxT9DBVk2NysUsuOuKKmGs0SDAw_A7HVLmD7ZrYEwE6NoUoRH1mlGInRJmTsNvoYODDsdso0-2FTvx10Zkq-idvXSrKpxoCvvatbQh00-6xcsLE9UGClnyPLuby6jCLePp2n6wg=s1600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEjyD_bgMOAiRRunM_w5GT6fkl9sPxdEU7dM_B_SrpaUqPJzL1w6a2QOxT9DBVk2NysUsuOuKKmGs0SDAw_A7HVLmD7ZrYEwE6NoUoRH1mlGInRJmTsNvoYODDsdso0-2FTvx10Zkq-idvXSrKpxoCvvatbQh00-6xcsLE9UGClnyPLuby6jCLePp2n6wg=s320" width="450" /></a></div></div><div>Cultural commentators like to throw around the term "Shakespearean" for too many works of art that don't deserve it, but <i>Succession</i> feels like one of the few recent shows that has the tragicomic sweep to be worthy of that comparison. If you just want to have a laugh, the show is a fusillade of the most hilarious and biting barbs you'll ever hear. But if you want some emotional heft, it's also a devastating show about the corrosive effects of familial abuse and how far-reaching its manifestations can be. Both sides of its blade were sharper this year, and though it seemed impossible after an all-timer sophomore season, <i>Succession </i>came back from an extended break with their best batch of episodes yet. Every single hour was its own pressurized diamond, delivering both lizard brain pleasure-triggering and plate spinning of the highest degree of difficulty, culminating in another earth-shattering finale. What a rare gift it was to watch this series live every Sunday night. Even rarer it is that the watercooler show of the moment is also TV's best offering.</div><div><br /></div><div><br /></div><div>Well, that wraps things up for my best shows of 2021 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! To see a complete inventory of all the TV I watched this year (with even more rankings), you can find it on <a href="https://docs.google.com/document/d/1bcWR158zlC4rNXwRQ87tUApBVb-A5YVMCPxMBf32oGg/edit?usp=sharing">this Google Doc</a>.</div><div><br /></div>
<div><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-television-shows-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-television-shows-of-2019.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-television-shows-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-television-shows-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-television-shows-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-television-shows-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-television-shows-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-television-shows-of-2013.html">2013</a></div></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com2tag:blogger.com,1999:blog-2395748504986705619.post-8633729880119451092021-12-30T00:01:00.109-05:002021-12-30T09:06:11.596-05:00My 15 Favorite Films of 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjuzmNBmZ6gBkTLQTPpQotDDLP54l5xdRkzYE-pLAMJgjXDWlkBpw0NAOHhn9Loh_K4j2vmWVln5DIhLFxoeHgBLhpdUAXri7QBjY3HTKsmo69t9Tt8vKEp4U-dJLXKcyl5-KTf0Lag7v17Bd7uf8v3jSJIdeFBNj7YUDSGDaGSSDHxChoOHKrA9CQO9w=s612" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="612" height="337" src="https://blogger.googleusercontent.com/img/a/AVvXsEjuzmNBmZ6gBkTLQTPpQotDDLP54l5xdRkzYE-pLAMJgjXDWlkBpw0NAOHhn9Loh_K4j2vmWVln5DIhLFxoeHgBLhpdUAXri7QBjY3HTKsmo69t9Tt8vKEp4U-dJLXKcyl5-KTf0Lag7v17Bd7uf8v3jSJIdeFBNj7YUDSGDaGSSDHxChoOHKrA9CQO9w=w400-h270" width="500" /></a></div><br /><div style="text-align: center;"><br /></div><div style="text-align: left;">Movies had a smoother ride in 2021 than they did last year, but that's not really saying much. It was harder to gauge any film's success given that many were released on streaming services at the same time as they were in theaters, but things still didn't look promising. It's not a great sign when Spielberg or <i>Matrix</i> movies can't even make money. Basically, if you weren't a comic book film, the box office was not your friend this year. Sometimes the pearl clutching about Disney's stranglehold on the industry can get a little melodramatic, but it's hard not to feel like anything but the biggest tentpoles will be vanishing over the course of the decade.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">That kind of prognosticating is too grim to dwell on for too long, so let's focus on the year at hand. Since theaters opened back up and films were no longer getting pushed back, I did see more new releases this year: a total of 69. It's not quite back to the numbers I was putting up in 2018 and 2019, but it's much better than last year's paltry 48 new releases watched. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">And yet, despite that 21 film increase, the number of list worthy material I saw didn't appreciably increase. I don't want to blame it on the quality of 2021's output, because there are a handful of lauded films that I still haven't gotten to, but either way I didn't necessarily feel enthusiastic enough about my number 16 through 20 films to write full entries on them. (I'm choosing not to admit that the fact that I'm running closer to my deadline than usual this year contributed to this as well.) Hopefully, this is the last year that my film list just a top 15, because I hate the unevenness of not having my three end of the year lists all be top 20s. Anyway, let us tarry no further. On to the list!</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>The rules:</b> Any film that got their first non-festival release in 2021 -- whether that's theatrically, on VOD, or exclusively on a streaming service -- qualifies for this list.</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Honorable Mentions (20-16)</b></div><div style="text-align: left;">With a knowingly playful tone and wild swerves, <b><i>Malignant</i></b> establishes itself as a new camp classic. Though it's hard to believe it came out this year, <i style="font-weight: bold;">Judas and the Black Messiah</i> was a 2021 movie, one carried by its two titanic performances at the center. <i>Sopranos </i>prequel <i style="font-weight: bold;">The Many Saints of Newark</i> was met with lots of bewilderment, but so was the finale of the show, and something tells me this prickly and haunted film will age just as well. The epic and zippy <i style="font-weight: bold;">Spider-Man: No Way Home</i> delivered a satisfying conclusion to this chapter of Tom Holland's run as Peter Parker. All of the anarchic antics Eric Andre does on his Adult Swim show translate smoothly to <i style="font-weight: bold;">Bad Trip</i>, a hilarious hidden camera comedy.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>15. Dune (Directed by Denis Villeneuve)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhwf1l-HZ5O0BwgNr96SE58uv_tmNfaYkdWZV-MMAExRrkd0lP8yJLbjyH4ok9kdSJQJ2NmH_PHjYKjvF-NewwD-nzK8FrOueA60b5v2L0h_MF8wX5LzX-VpeQVa-3H-a8DgOFiblp9LTGExg-TzlV9bd2PBWJ2BIr75EJvrOtI1L6jjnbVffukjPYE-w=s3576" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2141" data-original-width="3576" height="270" src="https://blogger.googleusercontent.com/img/a/AVvXsEhwf1l-HZ5O0BwgNr96SE58uv_tmNfaYkdWZV-MMAExRrkd0lP8yJLbjyH4ok9kdSJQJ2NmH_PHjYKjvF-NewwD-nzK8FrOueA60b5v2L0h_MF8wX5LzX-VpeQVa-3H-a8DgOFiblp9LTGExg-TzlV9bd2PBWJ2BIr75EJvrOtI1L6jjnbVffukjPYE-w=s320" width="450" /></a></div></div><div style="text-align: left;">In a purely definitional sense, <i>Dune</i> is a blockbuster: the 165 million dollar budget, the star-studded cast, the cutting-edge visual effects. Yet so many of its qualities fly directly in the face of that notion. This is a film that's far more gloomy and deliberate than the popcorn entertainment we're used to getting -- it operates at a unique frequency that eventually becomes engrossing if you're able to meet it there. As is typical with Denis Villeneuve films, <i>Dune</i> presents its scope in an unflashy nature that almost makes it more overwhelming, giving the setpieces a quiet majesty. While the 1984 film approached the challenge of an "unfilmable" story by throwing it out of the window and doing its own thing entirely, this one seems to have come as close as one could to cracking the code. This may only be half of the story, but it feels like a full meal.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>14. Saint Maud (Directed by Rose Glass)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhmT9J6QxoWLE4IacrD0RGSpj_P4eIQw-aJgGA1yb7M93bCxRJkrynIMMPbHkAcAA18VQPyUYgO9gb9xIxGziRyWsyiQSxEpk0YJIqxpCbPNxKWFkGNBpQjbHDaEiTKd1xy08vYJ-FIDmXxIZHWndbGPlrwOEVgmG5kCqoRZvqP6IBjtUdsQ1ZnDlbRQQ=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1406" data-original-width="2500" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEhmT9J6QxoWLE4IacrD0RGSpj_P4eIQw-aJgGA1yb7M93bCxRJkrynIMMPbHkAcAA18VQPyUYgO9gb9xIxGziRyWsyiQSxEpk0YJIqxpCbPNxKWFkGNBpQjbHDaEiTKd1xy08vYJ-FIDmXxIZHWndbGPlrwOEVgmG5kCqoRZvqP6IBjtUdsQ1ZnDlbRQQ=s320" width="450" /></a></div></div><div style="text-align: left;">There's a term that was coined in 2008 but has recently had a resurgence in music called "<a href="https://www.vice.com/en/article/bv8a8w/the-top-50-greatest-landfill-indie-songs-of-all-time">Landfill Indie</a>," referring to a homogenized group of indie bands that are just aping the style of better, more distinct groups. I'm ready to declare a variation of that called Landfill Horror, because it feels like more and more independent horror films are being made with the same droning pace and very little in the way of actual scares. All this is to say that I avoided <i>Saint Maud</i> for a while because I thought it was going to be a Landfill Horror film that wasn't worth my time. In actuality, it's not really a horror film at all -- it's more of a psychological film about a recently devout woman who slowly succumbs to madness. Led by a fearless performance from Morfydd Clark, <i>Saint Maud</i> is a fantastically bleak look at the way the tenets of religion can cause more harm to the already unwell. Don't be fooled by the A24 logo and misleading marketing. This one is much more fascinating than it lets on.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>13. Evangelion: 3.0+1.0 Thrice Upon a Time (Directed by Hideaki Anno)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgrDIu-21ZAzkaCS-6Pg5oTVjAbgE2BYDs7e-us9j9seI7Cw-oQtUs0nQPyVJZE6QmF2v1wza-7EQw2c3BZbrn2CsLlUlL8jM0cgqSNIYahUUd_xb3EGmDcGw7ln3_fYTb_UJSzfphwyRjbaRWDClRaeoZJKcg3PcFPLI4L-U5vnB8-5Gq7LyVRosMkiw=s890" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="890" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEgrDIu-21ZAzkaCS-6Pg5oTVjAbgE2BYDs7e-us9j9seI7Cw-oQtUs0nQPyVJZE6QmF2v1wza-7EQw2c3BZbrn2CsLlUlL8jM0cgqSNIYahUUd_xb3EGmDcGw7ln3_fYTb_UJSzfphwyRjbaRWDClRaeoZJKcg3PcFPLI4L-U5vnB8-5Gq7LyVRosMkiw=s320" width="450" /></a></div></div><div style="text-align: left;">Back in 2007, Hideaki Anno embarked on creating the <i>Rebuild of Envengelion</i> series, a retelling of his seminal anime <i>Neon Genesis Evangelion</i>. I felt the same way about the first three films in the series as I do about the re-recordings that Taylor Swift is doing of old her albums: they're cool, and I'm glad they make other fans happy, but they're not on the level of the originals. The <i>Rebuilds </i>just didn't feel like <i>Evangelion</i> to me. Well after 14 years, the tetralogy came to a close this year with <i>Thrice Upon a Time</i>, the installment that finally won me over. At 155 minutes, it's a long film, but there is so much jaw-dropping artistry packed into that runtime. In the first hour, Anno throws outrageous composition after outrageous composition at your eyeballs, and though the middle of the film gets bogged down in lore and technobabble, the third act brings everything home with a moving procession of his pet themes. That conclusion serves two purposes, allowing Shinji and the rest of the cast to come to terms with their trauma while also giving their creator the space to say goodbye to a series he's spent 25 years working on.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>12. Summer of Soul (Directed by Ahmir "Questlove" Thompson)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjS0F87zHoAmyHpKbLdnSF89THKOc3d4W5AUn1CnVOI-ZHj1K2q_b_kvk2QDy0x1wrriGw0kbk4nc7wk0K-vnFhSyh-SZWnLh1P7ZMFHPO7eguD49AOJ6lzKtrhiDP7iEnnUpSdLExf5vnVhY_aUMR5GfVlZ8EhHfaYx25kq8g5ByTlZqjAlF3J_h_moQ=s2560" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="2560" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEjS0F87zHoAmyHpKbLdnSF89THKOc3d4W5AUn1CnVOI-ZHj1K2q_b_kvk2QDy0x1wrriGw0kbk4nc7wk0K-vnFhSyh-SZWnLh1P7ZMFHPO7eguD49AOJ6lzKtrhiDP7iEnnUpSdLExf5vnVhY_aUMR5GfVlZ8EhHfaYx25kq8g5ByTlZqjAlF3J_h_moQ=s320" width="450" /></a></div></div><div style="text-align: left;">In the summer of 1969, the six-week Harlem Cultural Festival was held, featuring a gathering of Black music luminaries such as Stevie Wonder, Sly & the Family Stone, Nina Simone, Gladys Knight, and Mahalia Jackson. But for 50 years, the recorded footage of this Black Woodstock went unpublished. That's the premise of <i>Summer of Soul</i>, the music documentary that aims to be a corrective to that, by finally showing you footage of this legendary event. As you watch long stretches of these performances, you begin to feel the weight of the tragedy that this never saw the light of day until now, only existing in the memories of its attendees, some of whom get interviewed for the film (along with Lin Manuel-Miranda, for some reason). <i>Summer of Soul </i>feels like a gift, a chance to watch beautiful restoration footage of some of the greatest musicians ever and learn about the historical context of how it all came together.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>11. Undine (Directed by Christian Petzold)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiAFCunt9_VUo6VBIFwVVoZvywAGm8zegQzvOSLZp9DDmGmt-ZmXO9g7cUrG3B9kteeIsDfTN2L1Jm2KII3h3_If53o5PBVshhz6iw5wZuJVRgtQodDROAfw4GA9gRCLFBiEtJDx4ZH9Sz7WdSnVe5adEkaypUJ1B9aFL54sUKtgueHHqrCjfX-AGAXXg=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1107" data-original-width="2048" height="244" src="https://blogger.googleusercontent.com/img/a/AVvXsEiAFCunt9_VUo6VBIFwVVoZvywAGm8zegQzvOSLZp9DDmGmt-ZmXO9g7cUrG3B9kteeIsDfTN2L1Jm2KII3h3_If53o5PBVshhz6iw5wZuJVRgtQodDROAfw4GA9gRCLFBiEtJDx4ZH9Sz7WdSnVe5adEkaypUJ1B9aFL54sUKtgueHHqrCjfX-AGAXXg=s320" width="450" /></a></div></div><div style="text-align: left;"><i>Undine</i> plays its fantastical elements so straight that for a while it's almost hard to believe that the film is actually tackling the folklore it gets its name from. But that dissonance only makes it more hypnotizing, telling a story of love, loss, and transition that's so slippery you'll find yourself wanting to follow it wherever it goes. And to strange places it does go, led by the alluring chemistry that leads Paula Beer and Frank Rogowski strike. On both a literal and metaphorical level, <i>Undine</i> can get a little inscrutable, but it's never any less engrossing because of it. I wasn't crazy about <i>Transit </i>from a few years ago, but this oddity has gotten me back on the Christian Petzold train in a big way.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>10. Bergman Island (Directed by Mia Hansen-Løve)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjIr-YKagAlRLI7r7jxNtz_gFSKtp8dh-neMKCIm3vUQHd1SJkuY7N60VT-fxsUnqV7PVA-AGowiGmEXMl4XIs-LP4zpjNSn2sN8dBa2S8YfkVMklKX_bbicHMtLbEACcDbPIV9XSKSFnwp6xGYhk7QtWJLXzyDFTy5JItxKzNKn53sYpn8NcBJDMKq9A=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="800" height="275" src="https://blogger.googleusercontent.com/img/a/AVvXsEjIr-YKagAlRLI7r7jxNtz_gFSKtp8dh-neMKCIm3vUQHd1SJkuY7N60VT-fxsUnqV7PVA-AGowiGmEXMl4XIs-LP4zpjNSn2sN8dBa2S8YfkVMklKX_bbicHMtLbEACcDbPIV9XSKSFnwp6xGYhk7QtWJLXzyDFTy5JItxKzNKn53sYpn8NcBJDMKq9A=s320" width="450" /></a></div></div><div style="text-align: left;">Even if you're unfamiliar with the works of Ingmar Bergman, there's a deep trove of treasures to be found in <i>Bergman Island</i>, a film about a married pair of filmmakers in search of inspiration who visit Faro, the island where the Swedish legend made many of his films. There's a playfulness here that's largely absent from the man who gives the film its namesake, both in the way it lightly pokes fun at obsessive cinephilia and in its metafiction angle. Once it employs a nesting storytelling gambit in its second half, the film cracks wide open, offering a thrilling mirror for its protagonists to reflect upon. <i>Bergman Island</i> moves at a quiet pace, but its potent all the same, maybe even more so because of its unassuming nature.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>9. No Sudden Move (Directed by Steven Soderbergh)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgchvdF1AXwdoLM1fkwIunw5G14SOrRhf5qQPTxXsgKTLSRtODxMbykMJwXjSqwDNYdIQzUOUB0ll0kxtzGXTcHlkgjm0o1rIl1x7zSkWYRe7ppMXnyyQO4rFqsgZW7GgmvTZ03IekLuHueF5adxVqphDVDuZXeLXV9QbLZtVbv6Nw-2jIf5ZfHJELFRg=s2560" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1571" data-original-width="2560" height="275" src="https://blogger.googleusercontent.com/img/a/AVvXsEgchvdF1AXwdoLM1fkwIunw5G14SOrRhf5qQPTxXsgKTLSRtODxMbykMJwXjSqwDNYdIQzUOUB0ll0kxtzGXTcHlkgjm0o1rIl1x7zSkWYRe7ppMXnyyQO4rFqsgZW7GgmvTZ03IekLuHueF5adxVqphDVDuZXeLXV9QbLZtVbv6Nw-2jIf5ZfHJELFRg=s320" width="450" /></a></div></div><div style="text-align: left;">With the <i>Ocean's</i> Trilogy and <i>Logan Lucky</i> under his belt, Steven Soderbergh knows how to make a heist movie in his sleep at this point. So he went and made a film that operates like a heist written in cryptograms and shorthand. <i>No Sudden Move </i>is as lean as its cast is distended, slinking around a nearly incomprehensible plot with bold fisheye lens shots to accentuate its world gone catawampus. Even if you're not following the ins and outs of the events, its rhythms are impeccable, chasing labyrinthine piece-moving with dynamite individual sequences. Nobody's having more fun experimenting with the form than Soderbergh is, and it's always a delight to be one of his test subjects.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>8. Red Rocket (Directed by Sean Baker)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiF7XAVzocw6BdtdXjMdTihGZV9cgLUH2uGuSqOQ9xWwbnKG9pXNmLCYohWkr58PzNt6hekzT-5Xlovbp6LQKYU96OzPjUa4D3tWx2YIl5CTNPtn4JDeGMWnPcA9plQTh-T4BphCc0xWHGD1nUTZwqMmQEkkQ9cOEmi2Amj19khyT5SU4G0eHWvMh0CIg=s992" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="558" data-original-width="992" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEiF7XAVzocw6BdtdXjMdTihGZV9cgLUH2uGuSqOQ9xWwbnKG9pXNmLCYohWkr58PzNt6hekzT-5Xlovbp6LQKYU96OzPjUa4D3tWx2YIl5CTNPtn4JDeGMWnPcA9plQTh-T4BphCc0xWHGD1nUTZwqMmQEkkQ9cOEmi2Amj19khyT5SU4G0eHWvMh0CIg=s320" width="450" /></a></div></div><div style="text-align: left;">Few things are more satisfying than when a film can revive a person's career, or shows a facet of their skills you were never aware of. Such is the case with Simon Rex, whom those that were around in the 90s and early 2000s knew as a MTV VJ, rapper, and actor in a great deal of disposable fluff. But he's an absolute tour de force in <i>Red Rocket</i> as Mikey Saber, a fast-talking and habitually scheming porn star who's slumming it in his Texas hometown after going broke. Mikey's an absolute dirtbag, and he blithely causes wreckage wherever he goes, which would make him a hard character to watch if Rex wasn't so magnetic in his portrayal. Like <i>Tangerine </i>and <i>The Florida Project</i> before it, <i>Red Rocket</i> displays an impressive level of regional texture and rich characterization of places and people you rarely get to see onscreen, and it wisely knows how to sit there and watch them go. The movie is a total breeze, the ultimate kind of film where you want to endlessly want to hang out in its world, so long as it's from behind the safety of a screen.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>7. The Card Counter (Directed by Paul Schrader)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhZ2qW2u35LprK8d6JpRWftvLGXWLJCoYJfGsAl-qq2teF_HxfTmyxgYcT8R8kBEvC8p_0UjH4g7XHVaIvPDU3ef4EfhVIDuTTuK8JpwhiLw5k1R4HYnE9MIKhGk3j2dhZIPHPx17Hx5D707WOWvMXR3l_rjNDgHSmP2GS-kl4fzsfN0fYmKccoaiFz1Q=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1231" data-original-width="2048" height="270" src="https://blogger.googleusercontent.com/img/a/AVvXsEhZ2qW2u35LprK8d6JpRWftvLGXWLJCoYJfGsAl-qq2teF_HxfTmyxgYcT8R8kBEvC8p_0UjH4g7XHVaIvPDU3ef4EfhVIDuTTuK8JpwhiLw5k1R4HYnE9MIKhGk3j2dhZIPHPx17Hx5D707WOWvMXR3l_rjNDgHSmP2GS-kl4fzsfN0fYmKccoaiFz1Q=s320" width="450" /></a></div></div><div style="text-align: left;">Only four years have passed since Paul Schrader released <i>First Reformed</i>, but this year he was already back to doing what he does best: making intense, solitary films about journal-keeping weirdos. This time around it's centered on a man who served time in military prison for being a torturer at Abu Ghraib, now spending his life counting cards at various casinos around the country. As always, Schrader does an excellent job at depicting the isolation of his protagonist, emphasizing the sterile nature of every casino floor and drawing out why this atmosphere of controlled variables would appeal to a person like this. <i>The Card Counter</i> doesn't question whether everyone can find redemption -- it's pretty resolute about the fact that some people may never do so. But it posits that maybe everyone can strive to find peace and connection anyway.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>6. Encanto (Directed by Jared Bush, Byron Howard, and Charise Castro Smith)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiM1m107TFUDLKJVaQ_UHhyo3aE-zemic9CUmP95Y_TqCnL7cJJMEL5wRw0BEpheqpKVvghiDGxIWdQJ5EbsG9kc82HvP0SobIaB6lMwKmOICtTtBbnc5P-wtOU37IlwOceBRVB1fCoDUc4tF9MKPi1fbm80NOx84EDft9yXe_S5yzDgdsaXKKB6z0-PA=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1038" data-original-width="1920" height="244" src="https://blogger.googleusercontent.com/img/a/AVvXsEiM1m107TFUDLKJVaQ_UHhyo3aE-zemic9CUmP95Y_TqCnL7cJJMEL5wRw0BEpheqpKVvghiDGxIWdQJ5EbsG9kc82HvP0SobIaB6lMwKmOICtTtBbnc5P-wtOU37IlwOceBRVB1fCoDUc4tF9MKPi1fbm80NOx84EDft9yXe_S5yzDgdsaXKKB6z0-PA=s320" width="450" /></a></div></div><div style="text-align: left;">Try as Disney might to fool the masses that there is no difference between films made by Walt Disney Animation Studios and Pixar, there is one to dweebs like me. Movies like <i>Frozen</i>, <i>Moana</i>, and <i>Zootopia</i> range from fine to pretty good, but their work rarely reaches the emotional and creative heights that Pixar films such as <i>Ratatouille</i>, <i>WALL-E</i>, or <i>Inside Out</i> achieve. <i>Encanto</i> is the first Disney Animation film since <i>Tangled</i> that belongs in that conversation. They really outdid themselves this time around, delivering a beautiful story about displacement and familial burdens that appeals to both the head and the heart. There's not a swing it attempts that doesn't connect: the comedy is lively and gag-heavy, Lin Manuel-Miranda's songs are varied, the directors stage all the numbers with a cinematic sweep, and the big emotional moments in the third act feel completely earned. Animated films are a growing wasteland of the most brainless dross, so it's nice to occasionally get something with genuine craft like <i>Encanto.</i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i><br /></i></div>
<div style="text-align: center;"><b>5. Old (Directed by M. Night Shyamalan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgrFVgPd_vQLNI9wJf6bZhBYOJR65-foaXjGpbavcLNGGqMdV05IuoQw5JA3Fej9-DLaahvHq_KvWIX-HORZ8qwXNzTj-IyGJmEsweLNxYIRmEOO2T8oMdyo0QTLE9cKalOmpXns_7mbs0a7woOvJ6Hi7NIgbPb8MRUEVI8JEvdaL04-4cNySJ51QzehA=s1280" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEgrFVgPd_vQLNI9wJf6bZhBYOJR65-foaXjGpbavcLNGGqMdV05IuoQw5JA3Fej9-DLaahvHq_KvWIX-HORZ8qwXNzTj-IyGJmEsweLNxYIRmEOO2T8oMdyo0QTLE9cKalOmpXns_7mbs0a7woOvJ6Hi7NIgbPb8MRUEVI8JEvdaL04-4cNySJ51QzehA=s320" width="450" /></a></div></div><div style="text-align: left;">The beach that makes you old. It's a simple premise, but M. Night Shyamalan makes an entire feast out of it, asking himself "what is everything that could and would happen based on this setup?" and then proceeding to execute the answers to that question with a madman's flair. Even in his worst films, Shyamalan has always been a visual master, and <i>Old</i> features typically jaw-dropping work. One of the central tenets of filmmaking is that a cut signifies the passage of time, but he turns that idea on its head, using deft camera pans to let the horror of time progress in continuous takes. Even the stilted nature of the performances add to the film's eerie, <i>Twilight Zone </i>episode vibe. Original filmmaking is rarely ever allowed to be as bold and, more importantly, outright fun as <i>Old</i> is.</div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>4. The Power of the Dog (Directed by Jane Campion)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgda3HpnJbv2X-CtJKqS5hdX7QOPnrDbrE67qp05BvX0Agq0b9c66jd3VPFUCOQTzha2QSmaoYsZiqeasULwGvR0mnmKcA3FlgW1KBXIBlyMMSPPMa5OuzZplnvIBgh_vlpGmjbwj-WZI4_1aqgUe8pVYZfOJ-REFgkB7gOIYo1eA3JPPFZwApxPmV6lg=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEgda3HpnJbv2X-CtJKqS5hdX7QOPnrDbrE67qp05BvX0Agq0b9c66jd3VPFUCOQTzha2QSmaoYsZiqeasULwGvR0mnmKcA3FlgW1KBXIBlyMMSPPMa5OuzZplnvIBgh_vlpGmjbwj-WZI4_1aqgUe8pVYZfOJ-REFgkB7gOIYo1eA3JPPFZwApxPmV6lg=s320" width="450" /></a></div></div><div style="text-align: left;">Though she helmed two seasons of <i>Top of the Lake</i> in between, master filmmaker Jane Campion hadn't made a feature-length since 2009's <i>Bright Star</i>. You'd think with such a long time away, she'd be in a hurry to get to the fireworks factory in her return. But <i>The Power of the Dog</i> ambles on with her typical restraint, establishing the players in this western in simmering detail. Have patience and you'll be rewarded with an unnerving psychodrama about repression, isolation and the reverberations that the prison of masculinity can cause. <i>Power of the Dog</i> is full of surprises, not only in its story turns but in the depths revealed from its triad of main characters played by Kirsten Dunst, Kodi Smit-McPhee and Benedict Cumberbatch, the latter of whom gives the best performance of his career. Clearly, Campion didn't accumulate any rust in the last 12 years. She's made one of the most captivating films of 2021.</div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i><br /></i></div>
<div style="text-align: center;"><b>3. The Last Duel (Directed by Ridley Scott)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgSuZx1IGUPsRo3fqsV8fJpcEY0q8OSuJtnNgPe6yJmR39ZpBo-KZG8_wvv8JZ9TGX_mjUVLM9GtzBwjv7cKJyG8IzQ_-7EA5qAtcXLAY7tHd5krAgC1tGZg6wTDebD-g3hEzcBA13BXU0kmh02e5mWVidbc1bTeKKaUb7p3yN6-jvVKHYTx6ClBO4wIg=s2400" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2400" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEgSuZx1IGUPsRo3fqsV8fJpcEY0q8OSuJtnNgPe6yJmR39ZpBo-KZG8_wvv8JZ9TGX_mjUVLM9GtzBwjv7cKJyG8IzQ_-7EA5qAtcXLAY7tHd5krAgC1tGZg6wTDebD-g3hEzcBA13BXU0kmh02e5mWVidbc1bTeKKaUb7p3yN6-jvVKHYTx6ClBO4wIg=s320" width="450" /></a></div></div><div style="text-align: left;">Keep in mind that Ridley Scott is 84. He's 84 years old and made two movies that were put out this year: one of them was a film we don't have to talk about and the other was <i>The Last Duel</i>, his finest work in decades. The story is a terrific yarn told from three different POVs -- each written separately by its co-writers Ben Affleck, Matt Damon, and Nicole Holofcener -- as it chronicles the 14th century tale of two men who engage in trial by combat after one of them is accused of rape by the other's wife. Smart use is made of the storytelling conceit, using it to explore the ways in which our experiences shape our perception of events, while also interrogating the very concept of the "honor" these two men are fighting for. And Scott proves to be a surprising fit for the material, with his skill for action lacing the climactic moments with an unbearable tension and his ability to transport you to the worlds he crafts enhancing our investment in the smaller moments. It's good to see a legend get a masterwork out of their system so late in their career.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>2. West Side Story (Directed by Steven Spielberg)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg7iZFi3V1rqYJkaxR40yohaFbxeFlCmc09SCnMplPTx6i8LWM4qocb_bkgByaWC1sdX64qHJhPklg6MoFyWg0aoAwwTGVJax3gWKLtqwyqru3rZ4799WTqYZjU-lSnlx2-JkwvlxyIrzuzKZaRC1nwpF0z6cRoSdU5KpVRHfzn1Sg6X4Nhx-m2QO809g=s4825" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2762" data-original-width="4825" height="257" src="https://blogger.googleusercontent.com/img/a/AVvXsEg7iZFi3V1rqYJkaxR40yohaFbxeFlCmc09SCnMplPTx6i8LWM4qocb_bkgByaWC1sdX64qHJhPklg6MoFyWg0aoAwwTGVJax3gWKLtqwyqru3rZ4799WTqYZjU-lSnlx2-JkwvlxyIrzuzKZaRC1nwpF0z6cRoSdU5KpVRHfzn1Sg6X4Nhx-m2QO809g=s320" width="450" /></a></div></div><div style="text-align: left;">On paper, remaking <i>West Side Story</i> is indicative of everything wrong with the movie industry right now, recycling existing IP when the 1961 classic already exists. It's actually the complete opposite in execution, a work of craftsmanship and verve that we rarely see in the studio system nowadays. Tony Kushner's script finds new angles on this classic story, adding the shadow of gentrification to the film's central conflict and further emphasizing the disadvantages the Sharks face as Puerto Ricans in a nation that's hostile to their presence. And while Stephen Sondheim's songs are as agile as ever, Spielberg finds enthralling new ways to render them. Really, this adaptation is a stage for Spielberg to show that he's still the greatest visual stylist alive. Through masterful blocking, elegant editing, and whirligig camera motion, the film is a tour of one breathtaking sequence after another. Remakes may be the sign of creative bankruptcy, but <i>West Side Story</i> is one stunning exception.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>1. Licorice Pizza (Directed by Paul Thomas Anderson)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjYWpLYmSOUEen0whaEJvp8La7McKUTQvmF-i97a6GO72hQtEYdbjJKWfh1YW8ZmQUw8c77I4XiHKubMgJcoeL7Byx8UZCahm-JcG0sz6F8ReEqlgoDh1e6ob0U3EVuDrukdgHW4Vf_n6NXJlsMreWph7JWvUMYmOJH15Xvvo1LwFiQQU_zhTlhnsmDtg=s900" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEjYWpLYmSOUEen0whaEJvp8La7McKUTQvmF-i97a6GO72hQtEYdbjJKWfh1YW8ZmQUw8c77I4XiHKubMgJcoeL7Byx8UZCahm-JcG0sz6F8ReEqlgoDh1e6ob0U3EVuDrukdgHW4Vf_n6NXJlsMreWph7JWvUMYmOJH15Xvvo1LwFiQQU_zhTlhnsmDtg=s320" width="450" /></a></div></div><div style="text-align: left;">Many of Paul Thomas Anderson's films are about the delicate dance between two singular individuals, and in <i>Licorice Pizza</i> he may have landed on his oddest one yet. Set in the San Fernando Valley in the early 70s, the film revolves around the strange relationship between Gary, a 15-year old child actor and overconfident schemer, and Alana, a 25-year old hothead in need of direction in her life. Anderson is less interested in moralizing about the pair than he is in exploring what draws them to one another, as well as charting the subtle shifts in their dynamic as time goes on. <i>Licorice Pizza</i> is a masterclass in the difference between plot and story -- it barely has any of the former but is absolutely bursting with the latter, exhibiting so much curiosity in the complexities of these people and the world they inhabit. And it does so with a loopy rhythm, laying out a few scenes that proceed with a steady hum and then crackling to life for moments of incredible camerawork, oddball comic setpieces, or interjections from side characters who jolt in and leave just as quickly. There has been an increase in concern about the state of cinema, and whether great films can still survive in this environment. Things do look bleak, but it's good to know that for now, a movie as astonishing as this can still get made.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well, that wraps things up for my best films of 2021 list. I love reading other lists, so feel free to share yours in the comments. Or if you have any thoughts on my list, then you can do that too. To see a complete ranked list of all the 2021 films I've seen this year, along with a list of my favorite performances and some other data, you can find them on <a href="https://docs.google.com/document/d/14uMh7jk5cMtX7ej34seRandGUjrPWFcAv7UKT6XdOI8/edit?usp=sharing">this Google Doc</a>.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2020/12/my-15-favorite-films-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-films-of-2019.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-films-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-films-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-films-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-films-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-films-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-films-of-2013.html">2013</a></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com3tag:blogger.com,1999:blog-2395748504986705619.post-12514244313017628812021-12-29T00:01:00.230-05:002021-12-29T11:57:34.603-05:00My 20 Favorite Albums of 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhFwPBQQh-42zsilR_xDu2Cr6Gb1FpJbFsqTykjm5vHs2XVdYXpoNZe1Mwv-AUR2wvpjL-kzAJPEixlqjsk1hlT3tzoeXOFhs93YwlV3TRZmSjwv-70YCV029PPMWyf0CvM1o44cQbyuNsO3hHtwPvwOvQrwq_zcdu2o5yV1mvszLOkLL7NEPLznRJN8w=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="375" src="https://blogger.googleusercontent.com/img/a/AVvXsEhFwPBQQh-42zsilR_xDu2Cr6Gb1FpJbFsqTykjm5vHs2XVdYXpoNZe1Mwv-AUR2wvpjL-kzAJPEixlqjsk1hlT3tzoeXOFhs93YwlV3TRZmSjwv-70YCV029PPMWyf0CvM1o44cQbyuNsO3hHtwPvwOvQrwq_zcdu2o5yV1mvszLOkLL7NEPLznRJN8w=s320" width="500" /></a></div><br /><div style="text-align: center;"><br /></div><div>In 2021, I listened to more music than ever, both because I had more time to and out of pure necessity. Though the pandemic rages on, that hasn't stopped musicians from putting out material, and this year brought on a deluge caused by so many artists hitting the pause button last year. I consumed way more EPs this year as a result, since some bands still hedged their bets and are waiting until touring is fully back to release an album. Others tided over fans by releasing rarities or re-recordings of old work.</div><div><br /></div><div>But no matter what shape or size it came in, music was great in 2021. Rap produced a wealth of gems after a slow start, emo music continued its rise in respectability, and even the supposedly dying genre of indie rock had some works that revitalized the form. Let's take a look at the best of what this year had to offer.</div><div><br /></div><div><b>The rules:</b> Everything is the same as usual. The window of eligibility for this list is anything released between January 1, 2021 and now. This list can include albums, mixtapes, EPs, and anything in between. As always, I'm praying that nothing substantial comes out in the twilight hours of the year.</div><div><br /></div><span><a name='more'></a></span><div><br /></div>
<div><b>Honorable Mentions (25-21)</b></div><div>Everything and the kitchen sink gets thrown into <i>America, Online</i>, the whirlwind power-pop EP from <b>Barely March</b>. <b>Camp Trash</b> <a href="https://twitter.com/search?q=%22camp%20trash%20is%20a%20real%20band%22&src=typed_query&f=top">is a real band</a> and their debut EP <i>Downtiming</i> is an excellent collection of winsome, wistful emo tunes. Almost 20 years going and <b>The Hold Steady</b> are still a top-tier band, and they even add some new tricks to their bag on <i>Open Door Policy</i>. Fellow long-tenured band <b>Tigers Jaw</b> aren't reinventing the wheel, but <i>I Won't Care How You Remember Me</i> is all killer, no filler rock music. Teen sensation <b>Olivia Rodrigo</b> isn't going away anytime soon, so thankfully <i>Sour</i> has some sharp songs that foretell a bright future for her as a songwriter.</div><div><br /></div>
<div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEix8TG0vkhMPeTk2kijG7JFgtJu_EOcHFdAAoiXl8iz5STsWrpBvl3h1t-rNPf2h86WtT1N9YFdEp64hEXZ-kmQdi_Mb-4bjvyORjMh2Ts_FwX-4_JZ5ouKvojJZTOTMWI9EL1fjEBw1JD2BB1zUrUyMLVPPYq7UitFw7PU4KWPWlc9nz_AvEE3i4NgHQ=s600" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEix8TG0vkhMPeTk2kijG7JFgtJu_EOcHFdAAoiXl8iz5STsWrpBvl3h1t-rNPf2h86WtT1N9YFdEp64hEXZ-kmQdi_Mb-4bjvyORjMh2Ts_FwX-4_JZ5ouKvojJZTOTMWI9EL1fjEBw1JD2BB1zUrUyMLVPPYq7UitFw7PU4KWPWlc9nz_AvEE3i4NgHQ=w200-h200" width="150" /></a></div>20. Pi'erre Bourne - <i>The Life of Pi'erre 5</i></b></div><div>By now you probably know Pi'erre Bourne from his <i>Jamie Foxx Show</i>-sampling <a href="https://www.youtube.com/watch?v=DFVNh939xzQ">producer tag</a> that chaotically crashes into the middle of the best songs on albums from the likes of Playboi Carti, Young Thug, Young Nudy, and Lil Uzi Vert. But he's also been making solo work in the <i>Life of Pi'erre</i> series, where you get to hear nothing but beats from one of the best to currently do it. He's crafted an intoxicating signature sound: Candyland beats that make heavy use of woozy synth pads and flute notes. And in a world where many trap beats are simple and formulaic, Bourne's production is an intricate dance between hypnotizing topline sounds and the infectious counter melody running underneath. As a rapper, he's not the most adept, but there are enough forehead-slapping lines ("Spongebob Spongebob, my nigga Patrick," "I just want your body like anatomy") that their idiocy becomes endearing. Thanks to its trance-inducing sonics and clever transitions between songs, <i>The Life of Pi'erre 5</i> is one of the most engaging start-to-finish listens in a genre that's typically not album-oriented anymore.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=MxQBrlKsp6U">Retroville</a></div><div>2. <a href="https://www.youtube.com/watch?v=SfT6a3aMOeg">Butterfly</a></div><div>3. <a href="https://www.youtube.com/watch?v=n5rgaKinDmc">Couch</a></div><div><br /></div><div><br /></div><div><b>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgGWiSdJEPZ1ZGqIw6OqQA8thqpaUyLxMx6g3axDc8EAS12nJOpDsuGkp4kNUHMhaAr6i60L1whc5hJeuqhNYw1VdPfrEV7LS5-SqPjdsEpAp62AhOTYULBsrfH1G97r6yAYRQ0xFXDJFsZ1nUGKeAYG1Izb7VfYetRHoo10-xStruscwvPEEPT_EkR1g=s1200" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEgGWiSdJEPZ1ZGqIw6OqQA8thqpaUyLxMx6g3axDc8EAS12nJOpDsuGkp4kNUHMhaAr6i60L1whc5hJeuqhNYw1VdPfrEV7LS5-SqPjdsEpAp62AhOTYULBsrfH1G97r6yAYRQ0xFXDJFsZ1nUGKeAYG1Izb7VfYetRHoo10-xStruscwvPEEPT_EkR1g=w200-h200" width="150" /></a></div>19. NATL PARK SRVC - <i>The Dance</i></b></div><div>After being stuck on the 90s for what felt like an eternity, the 20-year nostalgia cycle may have finally arrived at the early 2000s, the period when I first got into indie rock. It's so great to hear an album like <i>The Dance</i>, which is a throwback to the days when indie music consisted of bands with six or more members where the frontperson couldn't really sing but it didn't matter because the music was so loud and cathartic. Opening song "The Funeral" is a real statement of purpose in that regard, a flurry of guitars, strings, horns, and crashing drums. There's just so much <i>sound</i> on this album. It's hard to even trace the individual instruments because they all mix together into a beautiful fog, with the anthemic melodies fighting their way to pierce through. If you were a fan of Arcade Fire, Broken Social Scene, and Wolf Parade from 2002 to 2006, then you'll most likely find alot to enjoy here. "The Right Thing" literally sounds like it could have been on Arcade Fire's <i>Funeral</i>. NATL PARK SRVC only has 336 monthly listeners on Spotify as of writing this, so who knows whether this is the start of a wave or not, but I sure hope it is.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=7v3pZUeJLD4">The Dance</a></div><div>2. <a href="https://www.youtube.com/watch?v=2MJL3J7DLG4">The Funeral</a></div><div>3. <a href="https://www.youtube.com/watch?v=fjtybd60Ers">You Won't Be Able To Find Me</a></div><div><br /></div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-A6DFt4gk-aY/Yab3WQQ66OI/AAAAAAAADgg/EwyiFiI6QpUR63_nP04p6mBONIGC8B2DgCLcBGAsYHQ/s600/Snow%2BEllet%2B-%2BSuburban%2BIndie%2BRock%2BStar.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-A6DFt4gk-aY/Yab3WQQ66OI/AAAAAAAADgg/EwyiFiI6QpUR63_nP04p6mBONIGC8B2DgCLcBGAsYHQ/w200-h200/Snow%2BEllet%2B-%2BSuburban%2BIndie%2BRock%2BStar.jpeg" width="150" /></a></div>18. snow ellet - <i>suburban indie rock star</i></b></div><div><i>Suburban indie rock star</i> is a pretty lofty title to choose for one's debut EP, but it turns out snow ellet is good enough to get away with it. Over the course of its short runtime, the record synthesizes disparate influences that come together in a way that sounds like nothing in the current DIY music space. The sunny guitar on "to some i'm genius," the rubbery bassline on "brick," the buzzsaw riffs on "casualty" -- you'll find some of the coolest and most invigorating sounds out there on this EP. Even though the production is a little lo-fi, the hooks are fully formed, showing off the songwriting skill of someone who's been doing this much longer than he has. On top of that, he released a deluxe version a few months later where the two new songs were even more assured than the five songs on the standard version. If snow ellet can fulfill the boundless potential on display here, then the full-length album is going to be scary good.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=TAyBXfbFrXo&list=OLAK5uy_lUB_yv9KQvm7sYahU5uNIOLBYlgNcr2j0">casualty</a></div><div>2. <a href="https://www.youtube.com/watch?v=NF-JtYE9wIc">nowhere to go</a></div><div>3. <a href="https://www.youtube.com/watch?v=MuEkSUG8cCg">brick</a></div><div><br /></div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EzoRK0nRo1c/Yab8jQ_2_WI/AAAAAAAADgo/Y8gMyyf1DI84JOddCdCRExMrtQPD5MMXwCLcBGAsYHQ/s1200/Home%2Bis%2BWhere%2B-%2BI%2BBecame%2BBirds.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://1.bp.blogspot.com/-EzoRK0nRo1c/Yab8jQ_2_WI/AAAAAAAADgo/Y8gMyyf1DI84JOddCdCRExMrtQPD5MMXwCLcBGAsYHQ/w200-h200/Home%2Bis%2BWhere%2B-%2BI%2BBecame%2BBirds.jpg" width="150" /></a></div>17. Home Is Where - <i>I Became Birds</i></b></div><div>If you didn't know Home Is Where were from Florida, you'd quickly be able to tell from their music. You can almost sense the humidity in their lyrics, which often conjure up imagery of overgrown wastelands, the kind that make up vast stretches of the state. If you've ever lived here, you can feel lines like "Preservative sun showers trickle down" and "Sunday school in a bug spray June" in your bones. Another topic of interest on <i>I Became Birds</i> is the human body, succinctly summarized with the lyrics "Oh the treachery / of anatomy." Elsewhere, Brandon MacDonald presents this gnarly imagery: "Let's trespass vacant properties / We claim as our bodies / There are birds on telephone lines / Where your heart's supposed to be." That sense of eerie unease runs through the music as well. At only 18 minutes, <i>I Became Birds</i> is quite brisk, but it packs so much variety into that time. They can give you something softer like the folky "The Old Country," and a more thrashing song like the splenetic "Assisted Harakiri." Sometimes that swerve occurs in the middle of a song, as it does on "Sewn Together..." Home Is Where is just one of the many examples that shows how wide the Overton window of what classifies as "emo" has become, since they often sound more like Neutral Milk Hotel than Sunny Day Real Estate. No matter how you define it, however, <i>I Became Birds</i> rules.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=gZPdeMPTi0U">Assisted Harakiri</a></div><div>2. <a href="https://www.youtube.com/watch?v=vDJAndZrNLw">Long Distance Conjoined Twins</a></div><div>3. <a href="https://www.youtube.com/watch?v=4qRUHnNxAGw">L Ron Hubbard Was Way Cool</a></div><div><br /></div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-zi7DOExN38o/Yafj7bsHxcI/AAAAAAAADg4/xJukvd4qxt4Vh_1LIPhkCn8H9ZNmVJBnQCLcBGAsYHQ/s800/Sada%2BBaby%2B-%2BThe%2BLost%2BTapes.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="150" src="https://1.bp.blogspot.com/-zi7DOExN38o/Yafj7bsHxcI/AAAAAAAADg4/xJukvd4qxt4Vh_1LIPhkCn8H9ZNmVJBnQCLcBGAsYHQ/w200-h200/Sada%2BBaby%2B-%2BThe%2BLost%2BTapes.jpg" width="150" /></a></div>16. Sada Baby - <i>The Lost Tapes</i></b></div><div>With an artist as prolific as Sada Baby, 2021 was considered a light year for the rapper, whose only release was a collection of loosies meant to hold over fans until he finally puts out his "real" album. Since he records so much, it's hard to even tell whether the songs on <i>The Lost Tapes</i> were all from the same cluster of time, in order to try to pick up on whether what we're hearing is an indication of trends he's gravitating towards for his full length. But if there is anything to be gained, it appears that he's finding new ways to play around with his voice and flow. On many of these tracks, his distinctive high-powered bark has given way to a raspy whisper. He also often get into bouts where he'll stop a line halfway through, start over, and repeat it to completion. Those techniques have the effect of requiring you to lean forward a little bit more to hear things, but the bars are still there. As always, his best songs are the ones where he just cuts loose and raps nonstop for two minutes or more, allowing you to bask in the full glory of his off-the-wall imagery and the spins he puts on standard gun talk. <i>The Lost Tapes</i> takes a few songs to rev up, but once it reaches the "Black Harlow"/"Brazy Taxi"/"2055" stretch, it's off to the races. "I ain't even hit the NOS yet," he raps at one point, which is a pretty apt description of the heights he's still capable of.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=xZS75cfq3C8">Brazy Taxi</a></div><div>2. <a href="https://www.youtube.com/watch?v=qOfTycOKGaI">Black Harlow</a></div><div>3. <a href="https://www.youtube.com/watch?v=luc-IYO973Y">2055</a></div><div><br /></div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AhPGKHNNRQk/YaG4fDqC4dI/AAAAAAAADgI/9Y1cvc4jDnkKwjKvIluX-JGePuqiSS3kgCLcBGAsYHQ/s320/Origami%2BAngel%2B-%2BGami%2BGang.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="150" src="https://1.bp.blogspot.com/-AhPGKHNNRQk/YaG4fDqC4dI/AAAAAAAADgI/9Y1cvc4jDnkKwjKvIluX-JGePuqiSS3kgCLcBGAsYHQ/w200-h200/Origami%2BAngel%2B-%2BGami%2BGang.jpeg" width="150" /></a></div>15. Origami Angel - <i>GAMI GANG</i></b></div><div>If there's a band in the current emo world that could be considered a phenomenon, it's Washington D.C.'s Origami Angel, the fiercely beloved duo who finally followed up their debut <i>Somewhere City</i> with <i>Gami Gang</i> earlier this year. They've got an energized and dynamic sound, rocketing you from supercharged riffs to soaring choruses to nasty breakdowns, and then throwing extended guitar heroics at before you can even orient yourself to the previous passage of the song. Their second outing doubles down on that method of giving you a sugar rush of radical positivity. Their whole deal can scan as corny: the punny titles; the naked sincerity of it all; the lyrics about getting acne, watching Nickelodeon cartoons, and eating Taco Bell. And 20 tracks that total 60 minutes does seem like way too long to sustain their energy and optimism, but somehow it works because the songs are so wonderful and catchy. If you never had a pop-punk phase as a teenager, there's no better way to make up for lost time than with <i>Gami Gang</i>.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=3gfz69_6gmU">Mach Bike</a></div><div>2. <a href="https://www.youtube.com/watch?v=g0VncwFdv4M">Noah Fence</a></div><div>3. <a href="https://www.youtube.com/watch?v=JEKF9L_aXSM">Mobius Chicken Strip</a></div><div><br /></div><div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhantLV6RfZSucoCqERWivomeR8cFKZ1YjRTrXHuO-pR4CYLU7G_l6TG6TMmtLYokF47VLHKUwLrp7yzDQygOxYXMppQoMnT8rb_JNfv-dkHM9-f-FS_IVrcmksJ8wYEHMB1WfjSIUHtAPlzJd4iACd-M7aTqHTYWtLCmWUXQeLxltaq8cIsyC8jJodiA=s320" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEhantLV6RfZSucoCqERWivomeR8cFKZ1YjRTrXHuO-pR4CYLU7G_l6TG6TMmtLYokF47VLHKUwLrp7yzDQygOxYXMppQoMnT8rb_JNfv-dkHM9-f-FS_IVrcmksJ8wYEHMB1WfjSIUHtAPlzJd4iACd-M7aTqHTYWtLCmWUXQeLxltaq8cIsyC8jJodiA=w200-h200" width="150" /></a></div>14. The War on Drugs - <i>I Don't Live Here Anymore</i></b></div><div>The War on Drugs are sort of like Beach House, in the sense that they both have an extremely specific sound that nobody else is really doing, so they get accused of making the same album all the time, even though that couldn't be further from the truth. And just like Beach House, Adam Granduciel and the gang have been refining and slowly shifting their sound, and <i>I Don't Live Here Anymore</i> morphs the band's heartland rock into something more closely resembling widescreen 80s pop-rock. The results are fantastic, delivering on production that's textured and rich, really giving each instrument the space to shine. Granduciel is a master arranger too, tucking tiny flourishes into every crack, sometimes so subtle that you don't notice until your 10th listen. And even though there aren't as many of his reality-shifting guitar solos here like there were on <i>A Deeper Understanding</i>, these songs are streamlined and surging in a way that makes this arguably their most accessible album. Maybe this whole "dad rock" thing isn't so bad after all.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=fUgylH_-88Y">Harmonia's Dream</a></div><div>2. <a href="https://www.youtube.com/watch?v=e9LZQTIzAaE">Victim</a></div><div>3. <a href="https://www.youtube.com/watch?v=MVh6XTwWhMY">I Don't Live Here Anymore</a> (feat. Lucius)</div><div><br /></div></div>
<div><br /></div><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nHgNZcTe4Rw/YaMOgfNJQ1I/AAAAAAAADgQ/xwiJjOnOJ-Y5oGYCd7bdzBBdvI2yIoNKACLcBGAsYHQ/s600/Mach-Hommy%2B-%2BPray%2Bfor%2BHaiti.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-nHgNZcTe4Rw/YaMOgfNJQ1I/AAAAAAAADgQ/xwiJjOnOJ-Y5oGYCd7bdzBBdvI2yIoNKACLcBGAsYHQ/w200-h200/Mach-Hommy%2B-%2BPray%2Bfor%2BHaiti.jpeg" width="150" /></a></div>13. Mach-Hommy - <i>Pray For Haiti</i></b></div><div>Mach-Hommy is a rapper cloaked in mystique. He keeps most of his face obscured behind a folded up Haitian flag, he famously doesn't allow his lyrics to be posted on Genius, and he used to sell his albums at exorbitant prices before making them available on streaming. He's like Griselda's weird cousin, doing that same Buffalo strain of hard-nosed rapping over quiet, damp beats, but Hommy's style is more insular and nomadic. It's fitting that he quotes MF DOOM on one of <i>Pray For Haiti</i>'s songs, because the metal-faced villain is the closest comparison given their shared sense of mystery and playful word-stacking. You could write a whole review consisting of the album's best quotables: "Oh word, your rap's braggadocious? Well put this .38 in your mouth. Go ahead and spit your magnum opus." "Thought you was the best on the drums? Meet Ringo." "How many more rappers will my 'K swiss?" <i>Pray For Haiti</i> is like an invitation into a separate world -- the fragments rapped in Creole, the grimy <i>Taxi Driver</i> samples, the heavily coded rhymes -- and it's supremely satisfying to make yourself at home in it.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=BlZpbOS9-CE">Makrel Jaxon</a></div><div>2. <a href="https://www.youtube.com/watch?v=sxaYOgiFnDg">No Blood No Sweat</a></div><div>3. <a href="https://www.youtube.com/watch?v=KQA7fk74q9M">Kriminel</a></div></div><div><br /></div>
<div><br /></div><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-fSiukB0WXwM/YafedSAQI0I/AAAAAAAADgw/Q5DTidGUPGkDW2zPq5oeE-dKrZ6iA3kWgCLcBGAsYHQ/s693/Mannequin%2BPussy%2B-%2BControl.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="693" height="150" src="https://1.bp.blogspot.com/-fSiukB0WXwM/YafedSAQI0I/AAAAAAAADgw/Q5DTidGUPGkDW2zPq5oeE-dKrZ6iA3kWgCLcBGAsYHQ/w200-h200/Mannequin%2BPussy%2B-%2BControl.jpeg" width="150" /></a></div>12. Mannequin Pussy - <i>Perfect EP</i></b></div><div>EPs tend to be seen as inessential in an artist's oeuvre, but <i>Perfect</i> is anything but. It might be the perfect format for Mannequin Pussy, whose music is such a shock to the system that it works best in short blasts. And thus, <i>Perfect </i>contains some of their best work. These five songs feature the band's signature blend of sweet and sour, alternating between down-the-middle rock anthems and punk rippers. In the former category lies "Control," which gives "Drunk II" a run for its money as the band's catchiest song, building steadily until the drums kick in. On the other end of the spectrum is the anti-cop stomper "Pigs is Pigs," which operates like a bull in a china shop, thrashing ferociously over its sub-two minute runtime. Mannequin Pussy is more than <a href="https://pitchfork.com/news/mannequin-pussys-songs-performed-by-angourie-rice-on-hbos-mare-of-easttown/">the <i>Mare of Easttown</i> band</a>. They're also one of the most exciting rock groups working right now.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=9C_tFlCkWVM">Control</a></div><div>2. <a href="https://www.youtube.com/watch?v=DE2rLAbqzyc">Pigs is Pigs</a></div><div>3. <a href="https://www.youtube.com/watch?v=6u1d3Y8SvOM">To Lose You</a></div></div><div><br /></div><div><br /></div>
<div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BbqoniER4DA/YaG3a2GEqWI/AAAAAAAADgA/WVDfWr29rIovyaWhAWIJGfD1JJ_XIi-pACLcBGAsYHQ/s320/Indigo%2BDe%2BSouza%2B-%2BAny%2BShape%2BYou%2BTake.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="150" src="https://1.bp.blogspot.com/-BbqoniER4DA/YaG3a2GEqWI/AAAAAAAADgA/WVDfWr29rIovyaWhAWIJGfD1JJ_XIi-pACLcBGAsYHQ/w200-h200/Indigo%2BDe%2BSouza%2B-%2BAny%2BShape%2BYou%2BTake.jpeg" width="150" /></a></div>11. Indigo De Souza - <i>Any Shape You Take</i></b></div><div>There's something about the sound of <i>Any Shape You Take</i>, the sophomore album from Indigo De Souza, that feels classic. Like so many albums in the last 10 years, it's indebted to 90s alt rock, but there's a distinctiveness that De Souza brings to it that doesn't make it seem like mere pastiche. This is some of the best guitar music of the year, the six-string sounds she produces are so crisp and impactful. And her voice has a dreamy softness to it that contrasts perfectly with the jagged, grungy instrumentation. That vocal quality translates just as well to songs like "17" and "Hold U," trying on poppier sounds and wearing them naturally. Nothing ever feels forced on the record because she imbues everything with a raw and personal touch, where phrases like "I'd rather die than see you cry" and "Was it something I said?" get repeated like anxious mantras. All of the best elements of the album come together on "Real Pain," a frayed song whose instrumental build matches the disorienting feeling of experiencing pain, until it comes apart in a wall of various recordings of people screaming, only to glue itself back together for a sticky hook. It's one of the best songs of the year, and just one piece of what makes <i>Any Shape You Take</i> one of the year's best records.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=VUe4zYAZsMg">Real Pain</a></div><div>2. <a href="https://www.youtube.com/watch?v=066lW_zwqxk">Late Night Crawler</a></div><div>3. <a href="https://www.youtube.com/watch?v=PmwWXpSOcJ8">Darker Than Death</a></div></div><div><br /></div>
<div><br /></div><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hpuQ7VJ2iNQ/YaRjoEO2BaI/AAAAAAAADgY/cVt77alSSygm3BS7IfWE8YZkMZEv1zExwCLcBGAsYHQ/s600/Faye%2BWebster%2B-%2BI%2BKnow%2BI%2527m%2BFunny%2Bhaha.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-hpuQ7VJ2iNQ/YaRjoEO2BaI/AAAAAAAADgY/cVt77alSSygm3BS7IfWE8YZkMZEv1zExwCLcBGAsYHQ/w200-h200/Faye%2BWebster%2B-%2BI%2BKnow%2BI%2527m%2BFunny%2Bhaha.jpg" width="150" /></a></div>10. Faye Webster - <i>I Know I'm Funny haha</i></b></div><div>I like to think I'm pretty funny. Sometimes I'll say things for the sole purpose of making myself laugh. Why I don't just keep those thoughts to myself if they're only for my own entertainment, I'll never know. Faye Webster strikes me as a kindred spirit in that regard. <i>I Know I'm Funny haha</i> is not a "funny" album in the traditional sense, but alot of her lines play like jokes you tell to make yourself laugh and nobody else. A line like: "The last words he said: 'There's other things out there to see.' And then he left me for someone who looks just like me." That's funny! "There's a difference between lonely and lonesome, but I'm both all the time." Also funny, at least to people like us. All of the songs on the album are sincere -- even the one about having a crush on Atlanta Braves player, Ronald Acuna Jr., I think -- but there's also a wryness and sense of surprise to her songs about love and domesticity that's endearing. When she says "Wonder if we'll get married before my brother" on "Cheers," there's a little jump in her voice, like even she's surprised at what she's feeling. Musically, the album exists at an intersection between R&B and alt-country that only somebody from Atlanta could achieve. The arrangements are lush and her backing band plays the hell out them. Almost every song has a portion where they patiently jam out, and those are often the best moments. Faye Webster made an incredible album, but she probably already knows that too.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=gYUB0O0No0A">Better Distractions</a></div><div>2. <a href="https://www.youtube.com/watch?v=GNJTdyESMgk">Kind Of</a></div><div>3. <a href="https://www.youtube.com/watch?v=GQ9wrkFWbTs">In A Good Way</a></div></div><div><br /></div><div><div><br /></div>
<div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhg46Wr7BK5VYS-wbDAL4-m3faDK9C9aN7jTC5_iHKFqI2QqHaNyZuD_fUchwdcnfc4FzSUhehOqEoRFiZS-AvR0SfigohNl1Y7_s34OihOy10WEgghTQI7Yrwc6IIOY2jSW7b2U9nIkJ99FD8Ub7Zoc_95NpeVSR0eDTfQ9IMztsbcWpt87_I1OeUwSA=s600" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEhg46Wr7BK5VYS-wbDAL4-m3faDK9C9aN7jTC5_iHKFqI2QqHaNyZuD_fUchwdcnfc4FzSUhehOqEoRFiZS-AvR0SfigohNl1Y7_s34OihOy10WEgghTQI7Yrwc6IIOY2jSW7b2U9nIkJ99FD8Ub7Zoc_95NpeVSR0eDTfQ9IMztsbcWpt87_I1OeUwSA=w200-h200" width="150" /></a></div>9. Snail Mail - <i>Valentine</i></b></div><div><i>Lush</i>, Snail Mail's debut album, received so much press and acclaim that it would've been enough to break anyone, let alone a 19 year old. But after a three-year layover that included a brief stint in rehab, Lindsey Jordan was back and better than ever this year for her follow-up. <i>Valentine</i> is bigger, cleaner, wiser, and ironically more lush than its predecessor. It may be a less showy album, but multiple listens reveal interesting guitar lines and textures. Jordan's a sharper lyricist this time around too, lacing "Madonna" with clever double entendres and religious allusions. She writes about love, loss, and longing with a powerful intensity. When she sings a line like "Some nights I reach for you like you're beside me," the phantom pain stings you too. Most of all, she's improved her voice, making it an instrument of its own here, as it wails on "Valentine," saunters over "Ben Franklin," and even snarls towards the end of "Automate." This is an album of little choices, small things that linger in your mind long after the song has ended. The outro of "Forever (Sailing)" comes to mind. On it, she intones "So much destruction / Look at what we did / That was so real / And you don't just forget," but the way she holds the first syllable of "forget" slightly longer than you expect her to is so good. It was a difficult road to get here, but <i>Valentine</i> is a shining success that reaffirms Lindsey Jordan as one of the brightest talents in the new indie rock class.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=lUdhD_NMSWE">Forever (Sailing)</a></div><div>2. <a href="https://www.youtube.com/watch?v=ZxodFRv_KWM">Valentine</a></div><div>3. <a href="https://www.youtube.com/watch?v=Vhatr4ksdLo">Automate</a></div></div><div><br /></div>
<div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nahKaPZWZ8Q/YZ2o88kZb0I/AAAAAAAADfw/6A0SK6ZqHjQXX8VwIzrivF_O2KKrolCvgCLcBGAsYHQ/s600/Boldy%2BJames%2B-%2BBo%2BJackson.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-nahKaPZWZ8Q/YZ2o88kZb0I/AAAAAAAADfw/6A0SK6ZqHjQXX8VwIzrivF_O2KKrolCvgCLcBGAsYHQ/w200-h200/Boldy%2BJames%2B-%2BBo%2BJackson.jpeg" width="150" /></a></div>8. Boldy James & The Alchemist - <i>Bo Jackson</i></b></div><div>There's nothing better than when a rapper links up with a single producer to make an album. And while Boldy James has done this with different producers for various albums, the best results always come from his work with The Alchemist. (The two of them also worked together on <i>The Price of Tea in China</i>, which made this list <a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">last year</a>.) The latter's production is haunting and full of negative space, employing a minimalism that looks easy but requires a gifted ear. Effortlessness is a running theme on <i>Bo Jackson</i>. It's there in Boldy's rapping as well, where a patient, unflashy delivery hides the fact that he's dropping an endless string of mesmerizing rhymes. You may be so engrossed by "First 48 Freestyle" that you don't even notice that every single line in the song rhymes. He even manages to rap circles around Earl Sweatshirt and Roc Marciano, two of the knottiest rappers working right now, on "Photographic Memories." <i>Bo Jackson</i> feels like one of the rare rap albums where the features are superfluous -- Boldy James and The Alchemist are all each other needs.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=VF5lBE_Rv1c">Flight Risk</a></div><div>2. <a href="https://www.youtube.com/watch?v=3HcaSlQhrlI">Steel Wool</a></div><div>3. <a href="https://www.youtube.com/watch?v=y8LH0tHxTNk">Speed Trap</a></div><div><br /></div>
<div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-u-dF6dHTQG4/YZ21uK4PVcI/AAAAAAAADf4/4bj17e8hZgMZbsbmbIX-K0lv0skkx5xuACLcBGAsYHQ/s600/Tyler%2Bthe%2BCreator%2B-%2BCall%2BMe%2BIf%2BYou%2BGet%2BLost.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-u-dF6dHTQG4/YZ21uK4PVcI/AAAAAAAADf4/4bj17e8hZgMZbsbmbIX-K0lv0skkx5xuACLcBGAsYHQ/w200-h200/Tyler%2Bthe%2BCreator%2B-%2BCall%2BMe%2BIf%2BYou%2BGet%2BLost.jpg" width="150" /></a></div>7. Tyler the Creator - <i>CALL ME IF YOU GET LOST</i></b></div><div>Nowadays it's rare that I'm won back over by an artist that I checked out on. While I was never a huge Tyler the Creator guy -- <i>Bastard </i>and <i>Goblin</i> are pretty good, but my 2010 rap craze of choice was Das Racist -- I definitely hopped off the train the further he got from the stuff he was making when he broke out. It all felt like music for white hip hop fans who only started liking rap when <i>My Beautiful Dark Twisted Fantasy</i> came out. So the fact that <i>CALL ME IF YOU GET LOST</i> is this good came as a real surprise. He's got one of the greatest sounding voices, and that menacing rasp was wasted on the sensitive, respectable music he was doing for a while, so what a relief it is that he's back to making pure rap music. <i>CALL ME</i> is the perfect blend of rap traditionalism (DJ Drama drops, superstar guest appearances) and sounds that are out of step with the current melodic trap/grimy boom-bap binary. The production is so expansive, featuring flutes ("HOT WIND BLOWS"), Neptunes-esque accordion synths ("RISE!"), and Lovers Rock grooves ("I THOUGHT YOU WANTED TO DANCE"). If you're one of those people who abandoned Tyler the Creator, just know that he's back in a big way on this album.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=fwGs72ihIeI">HOT WIND BLOWS</a> (feat. Lil Wayne)</div><div>2. <a href="https://www.youtube.com/watch?v=EQ3DBh8N3s8">WUSYANAME</a></div><div>3. <a href="https://www.youtube.com/watch?v=Znwgjl4wuPo">RISE!</a></div><div><br /></div>
<div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-FQpAqWMLZCg/YZiC-f1VDwI/AAAAAAAADfQ/GJMVpkHOjBMwDTANpdduv4oe802He4BAQCLcBGAsYHQ/s600/Ratboys%2B-%2BHappy%2BBirthday%2BRatboy.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-FQpAqWMLZCg/YZiC-f1VDwI/AAAAAAAADfQ/GJMVpkHOjBMwDTANpdduv4oe802He4BAQCLcBGAsYHQ/s320/Ratboys%2B-%2BHappy%2BBirthday%2BRatboy.jpeg" width="150" /></a></div>6. Ratboys - <i>Happy Birthday, Ratboy</i></b></div><div>It's been 10 years since Julia Steiner and Dave Sagan started making music together in a dorm room at Notre Dame University. In the time since, Ratboys has blossomed into a full four-piece band, and to celebrate their decade of musicmaking they surprise dropped re-recordings of rare songs from their early days. <i>Happy Birthday, Ratboy</i> is more than just an odds and sods collection for superfans though -- it feels like a full-fledged album and can be easily enjoyed as such. In the first half, the expanded lineup serves to highlight how keyed into something special the band was from the start, adding tiny bits of color and whirrs of sound to already winning songs. It's in the album's louder second half where they show how much they've grown over the last 10 years. Like all of the band's music, the songs on <i>Happy Birthday, Ratboy</i> have a coziness to them that make them feel like you've known them your whole life. It's a lovely feeling. Ratboys are allegedly the nicest band in all of indie rock, and they make some of the nicest music as well.</div><div><b><i><br /></i></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=2wTWosW50k0">Key</a></div><div>2. <a href="https://www.youtube.com/watch?v=sAYb5DO48Jw">Collected</a></div><div>3. <a href="https://www.youtube.com/watch?v=EiTRZHppjFg">Have a Heart</a></div><div><br /></div><div><br /></div>
<div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ic-IJLXh3Hk/YZnd6UmK9fI/AAAAAAAADfY/_8Kb-646yGUBZF5C8uHo2ZH_v813lP4ygCLcBGAsYHQ/s220/Lorde%2B-%2BSolar%2BPower.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="220" height="150" src="https://1.bp.blogspot.com/-ic-IJLXh3Hk/YZnd6UmK9fI/AAAAAAAADfY/_8Kb-646yGUBZF5C8uHo2ZH_v813lP4ygCLcBGAsYHQ/s0/Lorde%2B-%2BSolar%2BPower.png" width="150" /></a></div>5. Lorde - <i>Solar Power</i></b></div><div>Typically artists release their post-fame freakout record on the next album after they become a breakout star, but Lorde was a bit of a delayed detonation. After taking a four-year break in the wake of <i>Melodrama</i>, she returned with <i>Solar Power</i>, the kind of album nobody expected and many didn't like. And though the album artwork, the promo cycle, and the sun-baked sound of the songs may make it seem like a happy album, <i>Solar Power</i> reads very much like an expression of existential pain. Many of the songs are about contending with the passage of time and the rotting of the world, and how being rich and adored isn't enough to help get through those things. Even when she dispenses wisdom, it's followed by unsure qualifications like, "I don't know, maybe I'm just stoned at the nail salon." Lorde's writing is so vivid and emotionally attuned that she can take trite subject matter, like her desire to leave fame behind on "California," and give it an ache that feels fresh. It's also overflowing with beautiful melodies, keeping songs interesting with the lovely turns she's able to make. Sometimes it can feel like you're listening to a completely different album than everyone else, and for me that's <i>Solar Power</i>. I'm deeply moved by this lovely struggle to find peace and contentment in a roiling environment.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=hv6xxNDV8PA">Oceanic Feeling</a></div><div>2. <a href="https://www.youtube.com/watch?v=LNIP_e66bUE">Secrets From a Girl (Who's Seen It All)</a></div><div>3. <a href="https://www.youtube.com/watch?v=UfUqcpygFpY">Big Star</a></div></div><div><br /></div>
<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-dzQdPSI45pQ/YZh86sw_kUI/AAAAAAAADfI/qDGthk2UdB8VOMbFKkKx-La-6RuRk4_fACLcBGAsYHQ/s1200/Rosie%2BTucker%2B-%2BSucker%2BSupreme.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://1.bp.blogspot.com/-dzQdPSI45pQ/YZh86sw_kUI/AAAAAAAADfI/qDGthk2UdB8VOMbFKkKx-La-6RuRk4_fACLcBGAsYHQ/s320/Rosie%2BTucker%2B-%2BSucker%2BSupreme.jpg" width="150" /></a></div><b>4. Rosie Tucker<i> - Sucker Supreme</i></b><br /><div>Rosie Tucker wastes no time getting down to business on <i>Sucker Supreme</i>, blasting off with "Barbara Ann," which isn't a Beach Boys cover but might be as catchy as that band was at their peak. Things don't slow down from there either. This is an album of perpetual movement, never staying on one idea for too long. Between the laser-focused indie rock jams like the aforementioned album opener and "For Sale: Ford Pinto," they keep you on your toes with quick sketches of songs and loose interludes. Listening is an unpredictable, exuberant ride that works because it always grounds everything in the hooks at the center of it all. Tucker's writing is tight, lacing their lyrics with lines that are smart and poetic without being overly clever. Songs like "Habanero" have a neat structure to them, with verses building off each other and twisting previous lines. Every year, there's one record that you can't stop returning to, and <i>Sucker Supreme</i> was the undisputed champion of relistenability for me.</div><div><b><i><br /></i></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=pSRnwLoTnhU">Barbara Ann</a></div><div>2. <a href="https://www.youtube.com/watch?v=N_QxPCGETuY">For Sale: Ford Pinto</a></div><div>3. <a href="https://www.youtube.com/watch?v=3fXJMyzM_6U">Different Animals</a></div><div><br /></div><div><br /></div>
<div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-w5phsCGK5S4/YZnkrQAGCgI/AAAAAAAADfg/vitBqhkryO8cPo9brjhVpGy3L12_NB6xgCLcBGAsYHQ/s600/Los%2BCampesinos%2B-%2BWhole%2BDamn%2BBody.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-w5phsCGK5S4/YZnkrQAGCgI/AAAAAAAADfg/vitBqhkryO8cPo9brjhVpGy3L12_NB6xgCLcBGAsYHQ/w200-h200/Los%2BCampesinos%2B-%2BWhole%2BDamn%2BBody.jpeg" width="150" /></a></div>3. Los Campesinos! - <i>Whole Damn Body EP</i></b></div><div>Bands releasing old material was something of a trend in 2021, most likely as an effort to hold fans over until they could release an actual album when touring started back up. Cult heroes Los Campesinos! did so this year with <i>Whole Damn Body</i>, an EP of songs recorded during the sessions for their 2011 album <i>Hello Sadness</i>. On some days <i>Hello Sadness </i>sounds like the band's best album, so it's a joy to hear more from that era, when they began to shed the twee signifiers that made them popular and started writing songs that were tinged with a little more darkness, both lyrically and sonically. This seven song collection is a head rush of high drama, sugary riffs, and quotable lines like "writing sleeper hits for all these weeping dipshits." Part of the reason the band has accumulated such a passionate fandom is their willingness to write these exposed-flesh anthems that have an everyman vulnerability, with just enough humor to keep things from getting lugubrious. Hopefully they give us a full album soon, but <i>Whole Damn Body</i> is more than enough to keep everyone satisfied until then.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=nuw5Ri3glg4">Light Leaves, Dark Sees Pt. 1</a></div><div>2. <a href="https://www.youtube.com/watch?v=oJWD-xZCZWs">To the Boneyard</a></div><div>3. <a href="https://www.youtube.com/watch?v=KP0NCT5GZNI">Dumb Luck</a></div></div><div><br /></div><div><br /></div>
<div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LBKn-BrPAqs/YZxgpAgsbUI/AAAAAAAADfo/tnFg2nuPfZIa81QtKlzSfGVWsXPsJz2jwCLcBGAsYHQ/s600/JPEGMAFIA%2B-%2BLP%2521.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-LBKn-BrPAqs/YZxgpAgsbUI/AAAAAAAADfo/tnFg2nuPfZIa81QtKlzSfGVWsXPsJz2jwCLcBGAsYHQ/w200-h200/JPEGMAFIA%2B-%2BLP%2521.jpg" width="150" /></a></div>2. JPEGMAFIA - <i>LP! / EP2!</i></b></div><div>Most rapper-producer hyphenates are pretty clearly better at one over the other, but JPEGMAFIA is one of the few cases of somebody being amazing at both. As an emcee, he's got a slippery flow, finding unconventional pockets to worm his way into. His lyrical style is an unholy barrage of antic energy, trolling provocations, and hilariously left-field references ("Love screwin' with the cops, I'm <a href="https://www.buzzfeed.com/marissamuller/lana-del-rey-on-dating-police-officer-sean-larkin">Lana</a>"). As a producer, he's in a class of his own. The off-kilter synth sounds, the disorienting mixing, the distorted bass blatts -- listening to the beats sound like learning a new sonic language. And he's got a versatility that's unmatched, capable of making a sinister hell-gurgle of a beat like "END CREDITS!" as well something as beautiful as the crystalline "THIS ONES FOR US!" His records are almost draining in their disruption and willingness to throw any sound at you. With the release of <i>EP2!</i> and <i>LP! </i>-- not to mention <i>EP!</i> released late last year -- he's been on an absolute tear.</div><div><b><i><br /></i></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=oDRnSGgkoUc">REBOUND!</a> (<i>LP!</i>)</div><div>2. <a href="https://www.youtube.com/watch?v=aiF57muc9WU">THIS ONES FOR US!</a> (<i>EP2!</i>)</div><div>3. <a href="https://www.youtube.com/watch?v=wyGBnXYEj8I">BMT!</a> (<i>LP!</i>)</div></div><div><br /></div><div><br /></div>
<div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7wNGbYByXGM/YZh34ueR1GI/AAAAAAAADfA/l65g0ey2js8zBzq51oQwwMMjmhbipkR_gCLcBGAsYHQ/s600/Dry%2BCleaning%2B-%2BNew%2BLong%2BLeg.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-7wNGbYByXGM/YZh34ueR1GI/AAAAAAAADfA/l65g0ey2js8zBzq51oQwwMMjmhbipkR_gCLcBGAsYHQ/s320/Dry%2BCleaning%2B-%2BNew%2BLong%2BLeg.jpg" width="150" /></a></div><b>1. Dry Cleaning - <i>New Long Leg</i></b><br />I hate modern post-punk music. Every year, it seems like there's two or three new (typically British) bands that get hyped up even though they're just making boring music with gloomy-sounding basslines and icy guitars. I'm sick of it. We're at the point where I often see the phrase "post-punk" and not even click on an article about a new band. Don't make the same mistake I almost did with Dry Cleaning, whose debut album <i>New Long Leg</i> should be an exception to anyone's "no post-punk" rule. What helps is that the band's instrumentation is a thrilling jolt to the genre's now-staid formula: a straight-jacket tight rhythm section where the bass lays out deep, incessant grooves and the drums lock-in with no frills while the guitars shred all over the place. And that white-hot interplay is perfectly countered by vocalist Florence Shaw's talky delivery, never raising above the level of a cool musing. Her lyrics are entrancing, feeling like half-conversations, secret observations you're not supposed to hear, or transmissions from a crossed frequency. She can be funny ("the last thing I looked at in this hand mirror was a human asshole"), weird, and inscrutable over the course of a single verse. It all accumulates into a general sensation of being overwhelmed by the world, of doing everything and feeling nothing, of smiling constantly and constantly being stepped on. Hearing those waves of low-level dread over pressure cooker songs that feel like they can pop at any moment is what makes <i>New Long Leg </i>such a thrilling listen.</div><div><br /></div><div>Highlight songs: </div><div>1. <a href="https://www.youtube.com/watch?v=MIGVWXD_iKo">More Big Birds</a></div><div>2. <a href="https://www.youtube.com/watch?v=PeXuSiwR6iw">Unsmart Lady</a></div><div>3. <a href="https://www.youtube.com/watch?v=twqNuW7Q6-Y">Leafy</a></div></div><div><br /></div><div><br /></div><div>Well, that wraps things up for my best albums of 2021 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! Most of the highlight songs contain Youtube links if you want to listen to them, but I've also created a Spotify playlist if that's your preferred method. You can find it below. And if you want a complete ranking of all the albums that were in consideration for this list, along with some other data you might find interesting, you can find them on <a href="https://docs.google.com/document/d/1f_cKLzIrTJjykL9xqVa-s9zkXJ3y4lnKEgj5QHEwkME/edit?usp=sharing">this Google Doc</a>.</div><div><br /></div>
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<div><div><b><br /></b></div><div><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2020</a></div><div><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2019</a></div><div><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-albums-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-albums-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-albums-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-albums-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-albums-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-albums-of-2013.html">2013</a></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com7tag:blogger.com,1999:blog-2395748504986705619.post-92053087905937862542021-12-25T00:01:00.277-05:002021-12-25T00:01:00.173-05:00100 Songs I Liked In 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgzxIFZU-fhk-uqfVcNndmQmGvsq-1OiHCHt8JBcK7Y_8hkCgdQNkKqniDZVslt1FwIy5XQ8pFb-4SR2GtZA9DbE7Kd9O1xglN8EMdd40OYC-ADJB4simiAGb_DgTnWVWuW9Z0WM_dUodoBKtgETT5uaefm7HRo4SBL5snyJvRVwD-1gmp-K0rwDDPJKg=s700" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="490" data-original-width="700" height="350" src="https://blogger.googleusercontent.com/img/a/AVvXsEgzxIFZU-fhk-uqfVcNndmQmGvsq-1OiHCHt8JBcK7Y_8hkCgdQNkKqniDZVslt1FwIy5XQ8pFb-4SR2GtZA9DbE7Kd9O1xglN8EMdd40OYC-ADJB4simiAGb_DgTnWVWuW9Z0WM_dUodoBKtgETT5uaefm7HRo4SBL5snyJvRVwD-1gmp-K0rwDDPJKg=w640-h448" width="500" /></a></div><div><br /></div><div><br /></div>On December 29th, I'll be starting off my end of the year lists with my 20 favorite albums of 2021. But there's so much great music out there that my album post will only cover a very tiny portion of the stuff that's worth listening to. So this list is an additional rundown, one that highlights songs from albums that won't be appearing on the top 20 in a few days. I'm including songs from my five honorable mention albums, so if you see something on here from an album you love, who knows, maybe that album is ranked somewhere between 21 and 25 for me! Last year I expanded this list from the usual 50 song count to 75 songs, but because working from home allowed me to listen to more music than ever this year and also because I love to torture myself, I've made it a clean 100 songs. There's sure to be something you'll enjoy on here.<div><br /><span></span><span><a name='more'></a></span><div><div><br /></div><div><b>30 Deep Grimeyy - "4530" (feat. Sada Baby)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qqd27ngGEa4" width="320" youtube-src-id="qqd27ngGEa4"></iframe></div><div>Detroit continued to be the most exciting region for rap music in 2021, and consuming any song that has a Sada Baby feature verse has allowed me to interface with alot of the greatness the scene has to offer. 30 Deep Grimeyy has a fun verse and provides that great hook, but the track really reaches another gear when Sada Baby drops in to tear things up.</div><div><br /></div><div><br /></div><div><b>Ada Lea - "damn"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nHR4ly4THdI" width="320" youtube-src-id="nHR4ly4THdI"></iframe></div><div>The folkier side of indie music is a playground I find myself in less and less, but this Ada Lea song is great. She's got this delivery in the verses where the words spill out on top of each other that I find captivating.</div><div><br /></div><div><br /></div><div><b>Alien Boy - "The Way I Feel"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/24V8nK3rWLs" width="320" youtube-src-id="24V8nK3rWLs"></iframe></div><div>Alien Boy perfectly mix the searing guitar tones of shoegaze with the bleeding heart of emo on "The Way I Feel," the excellent and nostalgic opener from <i>Don't Know Who I Am</i>.</div><div><br /></div><div><br /></div><div><b>Arm's Length - "Garamond"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rgGZIh7U2pA" width="320" youtube-src-id="rgGZIh7U2pA"></iframe></div><div>Emo has a broader meaning than the one that exists in the minds of many people who grew up in the Fall Out Boy era, but Arm's Length kind of does sound like those bands that used to get played on The Fuse. Try not beating your chest and shouting along when the chorus of "Garamond" hits. You can't resist the urge!</div><div><br /></div><div><br /></div><div><b>Armand Hammer & The Alchemist - "Stonefruit"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4S3gEfqPQlM" width="320" youtube-src-id="4S3gEfqPQlM"></iframe></div>Armand Hammer don't make the most accessible rap music out there, but if you wanted to get somebody into their dense, coded world then "Stonefruit" might be a good place to start. Everybody on this song is operating at the top of their game, starting with The Alchemist's eerie, whirring beat, over which Elucid switches from woozy singing to sermon-like bars. But it's Billy Woods who takes it to another level in a verse laced with burning imagery. They all know how good the song is too, which is why they close <i>Haram</i> with it.</div><div><br /></div><div><br /></div><div><b>The Armed - "MASUNAGA VAPORS"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jYo3DrQsgj0" width="320" youtube-src-id="jYo3DrQsgj0"></iframe></div>For the life of me, I could not get into the Turnstile record that everyone loved, which just sounded like radio butt rock to me. I fared better with the other crossover hardcore record of the year: The Armed's <i>Ultrapop</i>. "MASUNAGA VAPORS" pummels you into submission, throwing cacophonous guitars and drums at you until you have no choice but to headbang along.</div><div><br /></div><div><br /></div><div><b>Asian Glow - "Circumstances tell me who i am"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/w3mHAcHExCE" width="320" youtube-src-id="w3mHAcHExCE"></iframe></div>I know very little about Asian Glow. I think they're a Japanese band? All I know is I heard them on that 5th wave emo playlist that was going around earlier this year and I loved this almost eight-minute odyssey, which starts off with gnarled acoustic guitars and only gets more explorative and noisy from there.</div><div><br /></div><div><br /></div><div><b>AZ - "The Ritual" (feat. Conway the Machine & Lil Wayne)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wjuV53vB-1k" width="320" youtube-src-id="wjuV53vB-1k"></iframe></div>Though he did not release a full-length solo album this year, the best rapper of 2021 was Lil Wayne, hands down. This won't be the last of his features you will see on this list. AZ is good for somebody you forgot existed and Conway is great on this track. But Lil Wayne just blacks out and stamps this song as a classic.</div><div><br /></div><div><b><br /></b></div><div><b>Baby Keem - "family ties" (feat. Kendrick Lamar)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/v6HBZC9pZHQ" width="320" youtube-src-id="v6HBZC9pZHQ"></iframe></div>Baby Keem is a great example of life being about who you know, because he merely delivers a watered down version of what his cousin Kendrick Lamar does, but gets tons of exposure anyway. He's not even bad, and he does a serviceable job on "family ties," but then Kendrick Lamar shows up and makes you question why you even put up with his little cousin. When this song first dropped, I laughed at Kendrick's antics. The <i>Relapse-</i>era Eminem voices, the parts where his flow sounds like Lil Dicky, the section where he ends his lines with a Hulk Hogan-esque "brother"...it felt so stupid to me. But now I feel like I can't live without it. All I have to hear is "I am the omega / pgLang, Rollie gang, SIE, don't you address me unless it's with four letters" and I get hyped.</div><div><br /></div><div><b><br /></b></div><div><b>BabyTron - "Mermaid Man and Barnacle Boy" (feat. Since99)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lzowg8FuQKk" width="320" youtube-src-id="lzowg8FuQKk"></iframe></div>BabyTron got together with <a href="https://youtu.be/3pRmCtpqa_A?t=59">Since99</a> and they went back and forth over the theme music to Mermaid Man and Barnacle Boy. What more do you want me to say?</div><div><br /></div><div><b><br /></b></div><div><b>Bad Bad Hats - "Awkward Phase"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/e-M2sPhdzJ4" width="320" youtube-src-id="e-M2sPhdzJ4"></iframe></div>Before this year, I hadn't been aware of Bad Bad Hats, and <i>Walkman</i> quickly made me realized that I had been missing out. Over 10 songs and 31 minutes, the band alternates between ripping power-pop bangers and delicate songs that breeze along effortlessly. I could've chosen the zippy "Detroit Basketball" as my pick, or maybe "Quarter Past," which is so lovely and yearning. But really it's "Awkward Phase" that best exemplifies what this band is capable of when they're on full tilt. That hook is bone-crunching.</div><div><br /></div><div><b><br /></b></div><div><b>Barely March - "2002 (2009)"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/io_2EWBpKBQ" width="320" youtube-src-id="io_2EWBpKBQ"></iframe></div>So many ideas are stuffed into Barely March's <i>America, Online</i> EP that you might get overwhelmed by its mad genius approach. "2002 (2009)" is that anything goes philosophy in microcosm. Power pop doesn't get much better than this steroidal blast of supercharged hooks, crunchy guitars and swooning background vocals.</div><div><br /></div><div><b><br /></b></div><div><b>Bartees Strange - "Weights"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fIhVcXFJ1w8" width="320" youtube-src-id="fIhVcXFJ1w8"></iframe></div>I liked <i>Live Forever</i>, the debut album from Bartees Strange last year, but it's only gotten better with time. This bonus track from the new deluxe edition has that same bombastic, hard-changing energy that energized the best songs from the original album. On top of that, Strange has some of the best pipes in all of indie rock.</div><div><br /></div><div><b><br /></b></div><div><b>Beach Bunny - "Blame Game"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/b7ulwS0Eeks" width="320" youtube-src-id="b7ulwS0Eeks"></iframe></div>Sometimes it can feel like the songs on Beach Bunny's <i>Blame Game</i> are feminism for babies, but it's less grating when I remember that their audience skews much younger than I am, and also that the songs are really catchy and fun. The title track, which is an angsty take on the concept of women getting blamed for men being unable to control themselves, isn't breaking any new ground on gender relations, but it hardly matters when the hooks are so good.</div><div><br /></div><div><b><br /></b></div><div><b>Bfb da Packman - "Bob and Weave" (feat. Zack Fox)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/61TB0MgNKcA" width="320" youtube-src-id="61TB0MgNKcA"></iframe></div>Bfb da Packman and Zack Fox -- two of the best at doing funny raps without necessarily being joke rap -- try to outdo each other with the most outlandish bars on "Bob and Weave." Here's Packman: "If Lizzo sold her coochie juice, I wanna buy a swiggle." And Zack Fox: "Do him like Joe Jackson, beat the right notes out him." The winner is the listener.</div><div><br /></div><div><b><br /></b></div><div><b>Big Jade - "Dem Girlz" (feat. Erica Banks)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/H77DtT9MqAE" width="320" youtube-src-id="H77DtT9MqAE"></iframe></div>All these years later and David Banner's "Like A Pimp" still goes hard, which Big Jade reaffirms by interpolating and sampling it on this banger. And on the song after this on her album, she samples "Dreams" by The Game. The mid-2000s are back!</div><div><br /></div><div><b><br /></b></div><div><b>Big Red Machine - "Renegade" (feat. Taylor Swift)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/h_wr-9X47ao" width="320" youtube-src-id="h_wr-9X47ao"></iframe></div>"Renegade" sounds like it would have fit nicely on <i>folklore</i> or <i>evermore</i>, which means it's incredible. Dessner and Swift are both in their bag here, with the former delivering one of his signature wiggling guitar lines and the latter wrapping herself around an incredible melody. This second verse is just vintage: "I tapped on your window on your darkest night / The shape of you was jagged and weak / There was nowhere for me to stay, but I stayed anyway / You fire off missiles ’cause you hate yourself / But do you know you're demolishing me? / And then you squeeze my hand as I'm about to leave." </div><div><br /></div><div><br /></div><div><b>Billie Eilish - "my future"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Dm9Zf1WYQ_A" width="320" youtube-src-id="Dm9Zf1WYQ_A"></iframe></div>I thought Billie Eilish's sophomore album was such a snoozefest when it came out, but as I became accustomed to its textures I arrived at the opinion that it's pretty solid. Even as I've been mixed on her music overall, I've always thought she has a lovely tone to her singing voice, and "my future" shows that off with her jazzy phrasings. It's a beautiful song that enlivens a sometimes too sleepy album.</div><div><br /></div><div><b><br /></b></div><div><b>Brockhampton - "CHAIN ON" (feat. JPEGMAFIA)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XFHLrx0Qsqk" width="320" youtube-src-id="XFHLrx0Qsqk"></iframe></div>While it may feel like the Brockhampton craze has come and gone a little bit, they're still making wonderful music. There's lots of great stuff to choose from on their most recent album, but the highlight is by far "CHAIN ON." It's one of their most straightforward songs, just a scorching guest verse from JPEGMAFIA and then Dom McLennon (the group's best rapper) ably keeping pace, but its traditional nature doesn't preclude it from hitting hard.</div><div><br /></div><div><b><br /></b></div><div><b>Cakes Da Killa - "What's the Word"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yTH2OKflauc" width="320" youtube-src-id="yTH2OKflauc"></iframe></div>Cakes Da Killa's brand of blending rap and the kind of house music that gets played in gay clubs feels so exciting that it's a wonder why more people aren't doing it. Maybe it's because not everybody can glide over these beats like he does.</div><div><br /></div><div><b><br /></b></div><div><b>Camp Trash - "Bobby"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YkJUarDON90" width="320" youtube-src-id="YkJUarDON90"></iframe></div>If you follow the emo/DIY space on Twitter, you might have been familiar with the running jokes about Camp Trash not being a real band because they had yet to put out any music. Well Camp Trash are real and they're spectacular. Their debut EP <i>Downtiming</i> is 11 minutes of catchy perfection, and any one of the four songs could make this list. Ultimately, I went with "Bobby," which has a wistful undercurrent that gives the hooks an even bigger punch.</div><div><br /></div><div><b><br /></b></div><div><b>CARM - "Song of Trouble" (feat. Sufjan Stevens)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NbrPaYla20Q" width="320" youtube-src-id="NbrPaYla20Q"></iframe></div>As someone who longs to hear Sufjan Stevens return to making music that sounds like <i>Michigan</i> and <i>Illinois</i>, this song is some real nectar of the gods stuff.</div><div><br /></div><div><b><br /></b></div><div><b>Charmer - "Diamond (Sprinkler)"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/brYgPuwwuWc" width="320" youtube-src-id="brYgPuwwuWc"></iframe></div>Midwest emo band Charmer released a split with Gulfer, and their contribution was the great "Diamond (Sprinkler)," which features an abundance of the band's tangled, math rock guitars. This is just a nice slice of straightforward guitar rock.</div><div><br /></div><div><b><br /></b></div><div><b>chloe moriondo - "I Eat Boys"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gP4viulpbKM" width="320" youtube-src-id="gP4viulpbKM"></iframe></div>YouTuber Chloe Moriondo's album <i>Blood Bunny</i> is pretty uneven, but there are a handful of unimpeachable pop gems on it. Out of those, I'll highlight "I Eat Boys," which was the first song of theirs I heard and I've been taken by its biting charm ever since.</div><div><br /></div><div><b><br /></b></div><div><b>Clairo - "Amoeba"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VR8ooa3G_5M" width="320" youtube-src-id="VR8ooa3G_5M"></iframe></div>I'd be lying if I said I wasn't a little let down by Clairo's pivot to 70s Laurel Canyon folk-pop after loving her debut album, but there's still some beautiful material on <i>Sling</i>, especially the bouncy, keyboard-driven "Amoeba."</div><div><br /></div><div><b><br /></b></div><div><b>Conway the Machine - "Scatter Brain" (feat. JID & Ludacris)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OA52VJ9o7fU" width="320" youtube-src-id="OA52VJ9o7fU"></iframe></div>Griselda's best member locks in with two rappers who have some of the joyous cadences to listen to and it naturally results in a track full of fun verbal acrobatics. We need a new JID album ASAP.</div><div><br /></div><div><b><br /></b></div><div><b>Courtney Barnett - "Rae Street"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NUXvlpS0TvE" width="320" youtube-src-id="NUXvlpS0TvE"></iframe></div>People in music discussion circles seem to have abandoned Courtney Barnett pretty hard, and while I'd agree that she's not making music as exciting as <i>A Sea of Split Peas</i> and <i>Sometimes I Sit...</i>, with her last two albums she's settled into a level right below greatness that suits her lackadaisical nature. <i>Things Take Time, Take Time</i> is a lovely album of easygoing musings that have a touch of sadness. She does it best on lead single and album opener "Rae Street," which is heartening and aching all at once thanks to Barnett's inimitable vocal delivery.</div><div><br /></div><div><b><br /></b></div><div><b>Dave - "Heart Attack"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2uQM-n_y-Hs" width="320" youtube-src-id="2uQM-n_y-Hs"></iframe></div>Some people have dubbed Dave "The British Kendrick Lamar," and while I'm not ready to go that far, this searing 9-minute song feels like his "Sing About Me, I'm Dying of Thirst." Just awe-inspiring rapping from start to finish.</div><div><br /></div><div><b><br /></b></div><div><b>dltzk - "your clothes"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/eC_fmqPGczU" width="320" youtube-src-id="eC_fmqPGczU"></iframe></div>It's only been a few weeks since I heard of the hot new genre digicore and had my face blasted off by dltzk's debut album <i>Frailty. </i>"your clothes" feels like an unholy concoction that mixes chiptune, emo, and hyperpop. It may take a few listens to get acclimated, but this is excellent, exciting music.</div><div><br /></div><div><b><br /></b></div><div><b>Drake - "TSU"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fhEqtynX_xc" width="320" youtube-src-id="fhEqtynX_xc"></iframe></div>This feels like a minority opinion, but if you can get through all 10 hours of it, <i>Certified Lover Boy </i>is actually one of Drake's better albums. He may not be pushing any boundaries, but never has retreating to one's comfort zone sounded so enjoyable. "TSU" is the song I go back to the most because it makes me laugh ("Her daddy is not around, her momma is definitely not around") and it's buttery smooth even before it taps into another register on the outro.</div><div><br /></div><div><br /></div><div><b>Ducks Ltd. - "Old Times"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TUYuh8SprI4" width="320" youtube-src-id="TUYuh8SprI4"></iframe></div>Originality is overrated. Sometimes I just want to hear some good old jangle rock that sounds comforting and familiar.<b><br /></b></div><div><br /></div><div><b><br /></b></div><div><b>Esther Rose - "Songs Remain"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/q7mzJKVZDfg" width="320" youtube-src-id="q7mzJKVZDfg"></iframe></div>Sometimes the simplest songs hit the hardest, and Esther Rose's lovely Joni Mitchell-esque acoustic lilt definitely proves that theory.</div><div><br /></div><div><b><br /></b></div><div><b>Fiddlehead - "Million Times"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zpDtNacjggE" width="320" youtube-src-id="zpDtNacjggE"></iframe></div>Fiddlehead were new to me when their album <i>Between the Richness</i> started making the waves around DIY Twitter, but I really liked "Million Times" when I finally checked them out. It's straightforward, no-frills emotional hardcore, the kind of thing you'd hear on a mid-2000s <i>Madden</i> soundtrack and become obsessed with after hearing it over and over while scrambling with Michael Vick.</div><div><b><br /></b></div><div><b><br /></b></div><div><b>Foyer Red - "Blood"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Z8GoRtkkYzo" width="320" youtube-src-id="Z8GoRtkkYzo"></iframe></div>I knew Foyer Red were a Brooklyn band before I even looked it up. Something about their blending of breezy indie pop and eccentric, yelpy phrasing screams Brooklyn hipster. That may sound like a diss, but hearing "Blood Baby" instantly makes me nostalgic for a time when bands like this were constantly propped up by Pitchfork.</div><div><br /></div><div><b><br /></b></div><div><b>Future Teens - "Separated Anxiety"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AXMRmUwDvbQ" width="320" youtube-src-id="AXMRmUwDvbQ"></iframe></div>In an increasingly crowded landscape, Future Teens stand out from other emo bands by adding a little bit of twang to their sound. The songs they create have a soothing effect to them, and their <i>Deliberately Alive</i> EP is their cleanest work yet, which only maximizes the coziness of tunes like "Separated Anxiety."</div><div><br /></div><div><b><br /></b></div><div><b>G Herbo - "Really Like That"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lZFeMciQ8pw" width="320" youtube-src-id="lZFeMciQ8pw"></iframe></div>You can always count on G Herbo to sound hard on a song, but that's amplified tenfold over this Tay Keith beat. "I just cashed out / My lil shooter with me, he like 20, he gon' crash out." Hell yeah, let's go.</div><div><br /></div><div><div><b><br /></b></div><div><b>A Great Big Pile of Leaves - "Swimmer"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lJg-gdAcc-o" width="320" youtube-src-id="lJg-gdAcc-o"></iframe></div>It's always been kind of weird that A Great Big Pile of Leaves are considered an emo band, as they sound more like a less ornate Jens Lekman than anything that was coming out of the scene in the 2010s. "Swimmer" is a lovely little autumnal jam, with a driving drum pattern and that slightly reverbed guitar sound that makes them so distinct.</div></div><div><br /></div><div><b><br /></b></div><div><b>Grouper - "Kelso (Blue sky)"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/i5SU9NpMzi4" width="320" youtube-src-id="i5SU9NpMzi4"></iframe></div>Now is the time for me to come clean: Before this year, I had never listened to Grouper. She's always lumped in with artists like Tim Hecker whom I've spent the last decade-plus ignoring because it's not really my thing, so I assumed she made some form of electronic music. It doesn't help that she gets labelled as "ambient" music either. All of this created circumstances that caused me to have one idea about her music that, judging from <i>Shade</i> and the bits of her other albums I've now listened to, just isn't true. Her songs, while hushed and sparse, are way more organic than I was led to believe. Much of <i>Shade </i>is led by acoustic guitar fingerpicking and light strumming, and what do you know, it's absolutely beautiful. So if you're like me and have been avoiding Grouper because you think you know what it sounds like, throw on "Kelso (Blue sky)" and prepare to be blown away for six minutes.</div><div><br /></div><div><b><br /></b></div><div><b>Gulfer - "Look"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gTyBlLO3iwk" width="320" youtube-src-id="gTyBlLO3iwk"></iframe></div>I mentioned the Charmer song on their split with Gulfer earlier on this list, but the Gulfer half is just as good, if not better. "Look" centers around a mathy guitar riff with a drum beat that matches it, then the song continues to build up and break down that central musical idea. Which is just an intellectual way of saying this song rocks.</div><div><br /></div><div><b><br /></b></div><div><b>Haim - "Gasoline" (feat. Taylor Swift)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kQ15Nq1XjRA" width="320" youtube-src-id="kQ15Nq1XjRA"></iframe></div>These four ladies went crazy on this one.</div><div><br /></div><div><b><br /></b></div><div><b>Halsey - "You asked for this"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QsIfvgcARL8" width="320" youtube-src-id="QsIfvgcARL8"></iframe></div>A part of me hates how much I love the new Halsey album, which was produced by Trent Reznor and Atticus Ross, because it reminds me of people who felt like the time for them to start paying attention to Taylor Swift was once she started working with Aaron Dessner and Bon Iver. But <i>If I Can't Have Love, I Want Power</i> is just wonderful, and is way different from what you'd expect Halsey working with the Nine Inch Nails guys to sound like. Take "You asked for this," which is basically a shoegaze song, and a banger of one at that.</div><div><br /></div><div><b><br /></b></div><div><b>hey, ily! - "DigitalLung.exe"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VUUGKgG3yxE" width="320" youtube-src-id="VUUGKgG3yxE"></iframe></div>"DigitalLung.exe" cycles through so many genres in three minutes. Toggling between pop punk, chiptune music, screamo, and easy listening shouldn't work, but somehow it all does. It's the kind of song that needs to be heard to be believed.</div><div><br /></div><div><b><br /></b></div><div><b>The Hold Steady - "Unpleasant Breakfast"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/6rgo4WtbcVM" width="320" youtube-src-id="6rgo4WtbcVM"></iframe></div>It's so nice that The Hold Steady are still doing their thing and doing it well. Not only is <i>Open Door Policy</i> a great album, it also finds them adding new tricks to their bag. Such is the case with "Unpleasant Breakfast," which feels like a perfect mixture between classic Craig Finn lyricism and a newer sense of looseness. Over a fiesta of horns and "woo"s, Finn crafts a wistful song reminiscing on a former love. It builds in melancholy as it goes on, giving us gorgeous lines like "All the burns on the windowsill / Says she's crazy 'bout horses still / All these anti-psychosis pills / So much power and grace." I always get a little choked up by the time I reach the end of the song.</div><div><br /></div><div><b><br /></b></div><div><b>Hot Mulligan - "Featuring Mark Hoppus"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/utH7zIEiLAc" width="320" youtube-src-id="utH7zIEiLAc"></iframe></div>With a song title as good as "Featuring Mark Hoppus," you'd think that the track itself wouldn't live up to it, but this would make the Blink-182 bassist proud. I love the way the lead singer's voice kind of shreds on certain words in the "I kind of miss you" line.</div><div><br /></div><div><b><br /></b></div><div><b>IAN SWEET - "Show Me How You Disappear"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MA4_56Ii0M0" width="320" youtube-src-id="MA4_56Ii0M0"></iframe></div>IAN SWEET are never going to make an album like <i>Shapeshifter</i>, which means so much to me, again, but I can always count on their newer albums to have one or two songs that knock me flat. "Show Me How You Disappear" is that song. ("Power" is the other one.)</div><div><br /></div><div><b><br /></b></div><div><b>illuminati hotties - "Pool Hopping"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RTTTEfurozI" width="320" youtube-src-id="RTTTEfurozI"></iframe></div>I tried my best to pick a different illuminati hotties song than "Pool Hopping," which people tend to hype to the detriment of the many other fantastic songs on <i>Let Me Do One More</i>. However, my best wasn't good enough. "Pool Hopping" is too much of a ripper to not shout out.</div><div><br /></div><div><b><br /></b></div><div><b>Isaiah Rashad - "True Story" (feat. Jay Rock & Jay Worthy)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4yl1YgS0BEw" width="320" youtube-src-id="4yl1YgS0BEw"></iframe></div>Every time some conversation about the rap album of the year would pop up on Twitter, dozens of people would shout out <i>The House is Burning</i> and I'd repeatedly have to ask myself "who's album is that again?" That's probably not a good sign, but that doesn't stop "True Story" from being one of my favorite 2021 rap songs. Its beat sounds like something Outkast would rap over, and all three rappers ride that smooth bassline with aplomb. Jay Rock -- a rapper whose solo work never impresses me but always saves his best heat for guest verses -- steals the show here with the way he says "You don't hit harder than me, you soft as some baby shit."</div><div><br /></div><div><b><br /></b></div><div><b>Jail Socks - "Spinning"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9IfFfirzmuE" width="320" youtube-src-id="9IfFfirzmuE"></iframe></div>A monstrous, circular saw guitar riff is the first thing you hear on "Spinning," and it's the thing that carries the song along, grabbing you by the collar and yanking you along with it. <strike>Thank god live shows are slowly coming back, because people need to shout along to this one.</strike> (Foolishly written right before Omicron started rearing its head)</div><div><br /></div><div><b><br /></b></div><div><b>Japanese Breakfast - "Slide Tackle"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0-EMiEpXLJg" width="320" youtube-src-id="0-EMiEpXLJg"></iframe></div>You probably don't need to be told at this point that the Japanese Breakfast record is good. It's pretty much a staple on every top 10 list that's been dropping. And while it's not going to be on my main list, <i>Jubilee</i> is a rock solid collection of big tent indie music. My favorite tune of the bunch is "Slide Tackle," a surprisingly danceable track for Michelle Zauner, with a wriggling bassline and horns that burst through toward the end. It always sounds so vibrant whenever I listen to it.</div><div><br /></div><div><b><br /></b></div><div><b>Jasiah - "Art of War" (feat. Denzel Curry & Rico Nasty)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YsXl-IYKUfM" width="320" youtube-src-id="YsXl-IYKUfM"></iframe></div>"Art of War" starts off with Denzel Curry shouting "Yo this the type of shit to make you curb stomp a newborn baby" and the intensity never lets up from there, assaulting you with three minutes of rambunctious mosh pit rap.</div><div><br /></div><div><br /></div><div><b>Jessie Ware - "Please"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ncwi7mmzrVI" width="320" youtube-src-id="ncwi7mmzrVI"></iframe></div>Apparently it wasn't enough for Jessie Ware to give us 12 dance pop bangers last year on <i>What's Your Pleasure?</i>, because she dropped seven more on the deluxe version this year. It's crazy that "Please" didn't end up on the proper album. It's pitch perfect disco nostalgia that'll shoot straight to your nervous system and get you dancing.</div><div><br /></div><div><b><br /></b></div><div><b>Julien Baker - "Heatwave"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZaEAbleWSjs" width="320" youtube-src-id="ZaEAbleWSjs"></iframe></div>Some people feel like Julien Baker's transition to a more beefed up sound on <i>Little Oblivions</i> took away from the intensity of her music, but I've always had a hard time with the sparse nature of her previous work, so I love the resplendent nature of a song like "Heatwave."</div><div><br /></div><div><br /></div><div><b>Kacey Musgraves - "camera roll"</b></div><div><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Igy7ZFauA0I" width="320" youtube-src-id="Igy7ZFauA0I"></iframe></div>star-crossed</i> was my number one disappointment of the year. It's not a bad album, and after repeated listens I've come to not think it was the disaster I first thought it was, but it's definitely disheartening to see a songwriter known for wit and specificity succumb to the corny cliches she often does on the album. One of the few songs on the record that stands with her best work is "camera roll," her sharpest song about divorce on an album all about it. Here she finds heartbreak in the mundane, rendering the act of looking through old photos on your phone with a devastating poignancy. "Chronological order ain't nothing but torture" is the kind of elegant writing she used to accomplish with ease before.</div><div><br /></div><div><b><br /></b></div><div><b>Katy Kirby - "Juniper"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qxecd0jh1fc" width="320" youtube-src-id="qxecd0jh1fc"></iframe></div>There was so much music to check out this year that I never got a chance to spend alot of time with Katy Kirby's <i>Cool Dry Place</i>, despite really loving "Juniper." Over a soft, lovely melody and some rootsy instrumentation, she delivers a clever flower conceit to describe a lover. It feels familiar and fresh all at once.</div><div><br /></div><div><b><br /></b></div><div><b>Kero Kero Bonito - "Well Rested"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/txd7-2AGI2E" width="320" youtube-src-id="txd7-2AGI2E"></iframe></div>Well I, for one, did not know that KKB had this seven minute proggy dance odyssey in them but I wouldn't be mad at hearing more of this from them.</div><div><br /></div><div><b><br /></b></div><div><b>Lana Del Rey - "Sweet Carolina"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gitWGi7UWno" width="320" youtube-src-id="gitWGi7UWno"></iframe></div>This year Lana Del Rey put out two very good albums that didn't get much shine just because they weren't <i>Norman Fucking Rockwell</i>. I fear she'll always be in the shadow of that record now, which is a shame because <i>Chemtrails Over the Country Club</i> and <i>Blue Bannisters</i> have lots of beauty to offer. <i>Blue Bannisters</i> album closer "Sweet Carolina" is just one example of that beauty, genuinely sounding like some of the lullabies on Joanna Newsom's <i>Have One on Me</i>.</div><div><br /></div><div><b><br /></b></div><div><b>Lightning Bug - "The Right Thing Is Hard To Do"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/r_06I-c73_8" width="320" youtube-src-id="r_06I-c73_8"></iframe></div>"The Right Thing Is Hard To Do" has an ethereal beauty to it, sounding like the musical equivalent of laying in a field while staring at the sunset.</div><div><br /></div><div><b><br /></b></div><div><b>Lil Yachty - "SB5" (feat. Sada Baby)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4BNPqUBg0sQ" width="320" youtube-src-id="4BNPqUBg0sQ"></iframe></div>Lil Yachty's embracing of the Michigan rap scene is endearing and doesn't feel like he's cravenly riding the latest craze. "SB5" is great low-stakes music, with Yachty and Sada Baby trading bars over a menacing minor key beat.</div><div><br /></div><div><b><br /></b></div><div><b>Lucy Dacus - "Triple Dog Dare"</b></div><div><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-GVnrnqoZ7o" width="320" youtube-src-id="-GVnrnqoZ7o"></iframe></div>Home Video </i>isn't quite top 20 worthy because I can't get over the tweet I saw that (astutely and correctly) said that the album reads like a NaNoWriMo novel, but nobody is better than her at doing towering storytelling songs that crest six minutes. "Triple Dog Dare," the nearly eight minute tale of two closeted friends, is another one of those, and its slow-building emotion is almost unbearable. By the time it gets to the line that says the song's title, I'm always a puddle.</div><div><br /></div><div><b><br /></b></div><div><b>Maxo Kream - "GREENER KNOTS"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PH8zn6nuZXs" width="320" youtube-src-id="PH8zn6nuZXs"></iframe></div>This is a hot take, but Maxo Kream's flow annoys me to the point where I can't enjoy a full album of his, but he's great in small doses. And the Southern bounce of this beat is the perfect vehicle for him to cut loose.</div><div><br /></div><div><b><br /></b></div><div><b>Meet Me @ the Altar - "Never Gonna Change"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0G3ddjJbX7U" width="320" youtube-src-id="0G3ddjJbX7U"></iframe></div>I've gone back and forth and back again on the <i>Model Citizen </i>EP since it came out. At first, I thought it was an awesome fill-in for the Paramore-shaped hole in my heart, but then I slowly started to feel like Meet Me @ the Altar was a hollow facsimile of the pop punk that was popular when I was in middle school. Now I've come back to fully embracing that it rules. Just listen to a song like "Never Gonna Change," with its spiky riffs and pummeling drums, and tell me that it doesn't.</div><div><br /></div><div><b><br /></b></div><div><b>Nardo Wick - "Who Want Smoke?? (Remix)" (feat. Lil Durk, 21 Savage & G Herbo)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/J7_XGgY8-bk" width="320" youtube-src-id="J7_XGgY8-bk"></iframe></div>Three of the hottest street rappers hopped on "Who Want Smoke??" and elevated to even bigger hit status, but there's something about the weirdness of Nardo Wick's clenched jaw delivery that's still the main draw here.</div><div><br /></div><div><b><br /></b></div><div><b>Nervous Dater - "Violent Haiku"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/to7B9P5zXmM" width="320" youtube-src-id="to7B9P5zXmM"></iframe></div>After all these years, a 90s-aping fuzz rock song still gets my juices going. This makes me long for a new Swearin' album.</div><div><br /></div><div><b><br /></b></div><div><b>Nicki Minaj - "Seeing Green" (feat. Lil Wayne & Drake)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_Q7rcUm0Dro" width="320" youtube-src-id="_Q7rcUm0Dro"></iframe></div>Nicki Minaj's <i>Beam Me Up Scotty</i> finally hit streaming services earlier this year, and she celebrated by adding "Seeing Green," a new song that sees her teaming up with her old YMCMB pals. They sound great together as always -- Nicki Minaj does her usual tough talk about how people are her sons and Drake drops some hilarious self-aggrandizing about how he "played 48 minutes on a torn meniscus"(????) But of course, it's Lil Wayne who lights the track on fire as he did time and time again this year. "The cash blue, but I'm still seein' green / I'm in the bathroom, and I'm peein' lean / My bitch a vacuum / I told her, "Keep me clean," the scene serene / I'm a badonkadonk and bikini fiend." Straight blackout mode.</div><div><br /></div><div><b><br /></b></div><div><b>Olivia Rodrigo - "deja vu"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/C4hwsb1HPaU" width="320" youtube-src-id="C4hwsb1HPaU"></iframe></div>Overexposure has a habit of making you sick of just about any song, even great ones. Heck, that even happened with Olivia Rodrigo's other hit song, "drivers license." But somehow that still hasn't happened with "deja vu." Any time I listen to it on my own or hear it in passing on the radio, I always think to myself "God, this song is incredible." It may even be the best song of the year? The melody, the melancholy, the Lorde-esque whispery double tracked vocals that come in when she says "So when you gonna tell her that we did that too?," it's all just perfect. Rodrigo is the real deal.</div><div><br /></div><div><b><br /></b></div><div><b>Pa Salieu - "Glidin'" (feat. slowthai)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/o6Jg1jw9X7g" width="320" youtube-src-id="o6Jg1jw9X7g"></iframe></div>It's too bad that being packed in clubs was not a good idea in 2021, because this song would probably go off in that setting.</div><div><br /></div><div><b><br /></b></div><div><b>Papoose - "Thought I Was Gonna Stop" (feat. Lil Wayne)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BvISi1gVqlg" width="320" youtube-src-id="BvISi1gVqlg"></iframe></div>Yes, in the year of our lord 2021, I listened to a Papoose song. I made it my mission to listen to any song with a Lil Wayne verse this year, and I was surprised by how much this one slaps, and not just because of Weezy.</div><div><br /></div><div><b><br /></b></div><div><b>Parquet Courts - "Homo Sapien"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-AcXjhA0zlI" width="320" youtube-src-id="-AcXjhA0zlI"></iframe></div>Parquet Courts went the Talking Heads route for <i>Sympathy For Life</i>, employing more spacey, abstract grooves than usual. The results were great, but sometimes I found myself missing when they would just let it rip. Luckily, there's "Homo Sapien" to satiate my desires towards the end of the album. Led by a brawny riff and feral vocals -- I love the way the line "The primal desire to <i>fuck</i>" get punctuated with the drum beat -- this track proves that the band still knows how to rock when they want to.</div><div><br /></div><div><b><br /></b></div><div><b>Pet Fox - "Imagine Why"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9JTBEkGB5Cw" width="320" youtube-src-id="9JTBEkGB5Cw"></iframe></div>"Imagine Why" starts so unassuming in its first verse: a little twinkly guitar line and needling bassline keep a low-simmering tension. But then the song completely opens up and explodes with the chorus, a rush of hard downstrokes and belted vocals. This song never fails to get the blood pumping.</div><div><br /></div><div><b><br /></b></div><div><b>PinkPantheress - "All my friends know"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MHcu8UKllmg" width="320" youtube-src-id="MHcu8UKllmg"></iframe></div>I'm officially an old man now, and there's a whole world of artists breaking through on TikTok that I have little awareness of. All of a sudden I'll hear about an artist for the first time and check their Spotify, only to find out they have five million monthly listeners. Usually, when I listen to the music it's a giant "not for me." PinkPantheress is a big exception, because I think <i>to hell with it</i> is the real deal, a 18-minute carousel of sample-heavy drum n' bass beats mixed with a delicate, bedroom sensibility. "All my friends know" is a bit of a curveball in that context. Arriving towards the end of the album, it drops the driving breakbeats in favor of simple, gorgeous R&B. She's more than just a gimmick artist.</div><div><br /></div><div><b><br /></b></div><div><b>Polo G - "GNF (OKOKOK)"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xu6k9JslcgA" width="320" youtube-src-id="xu6k9JslcgA"></iframe></div>To be honest, I really have no idea why Polo G mostly sticks to his melodic sing-song flow because all of his best songs are just him going hard and tearing into the track.</div><div><br /></div><div><b><br /></b></div><div><b>Pom Pom Squad - "Head Cheerleader"</b></div><div><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TZ3qfmF6VmM" width="320" youtube-src-id="TZ3qfmF6VmM"></iframe></div>Death of a Cheerleader</i> could have used more songs like "Head Cheerleader," a buzzing nostalgia rave-up with a chorus that'll carve its way into your brain and never remove itself.</div><div><br /></div><div><b><br /></b></div><div><b>Pony - "WebMD"</b></div><div><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zAcMcSxw-jA" width="320" youtube-src-id="zAcMcSxw-jA"></iframe></div>TV Baby</i>, the debut album from Pony, is mostly about being lonely and watching TV all the time, so you can see how that would appeal to me. You can expect all the songs to be in the vein of "WebMD," crunchy bubblegrunge (to use a ridiculous term Spotify made up) that will scratch that Charly Bliss itch until they release something new.</div><div><br /></div><div><b><br /></b></div><div><b>pronoun - "SOUND THE ALARMS!!!1!"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jdEUDQ7oG5o" width="320" youtube-src-id="jdEUDQ7oG5o"></iframe></div>Pronoun has a habit of making songs that sound bigger and more pristine than what their budget is. Even on a transitional project such as this year's <i>OMG I MADE IT</i> EP, a song like "SOUND THE ALARMS!!!1!" sounds huge thanks to its widescreen production and gleaming hook writing.</div><div><br /></div><div><b><br /></b></div><div><b>Really From - "Yellow Fever"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qOuoq8mBJdY" width="320" youtube-src-id="qOuoq8mBJdY"></iframe></div>The self-titled album Really From put out this year was among the most unique records I heard in 2021. A heady mix of jazz, math rock, and emo that always kept me on my toes, and it peaks with "Yellow Fever," a horn-heavy lope that finds lead singer Michi Tassey wrestling with her Asian identity.</div><div><br /></div><div><b><br /></b></div><div><b>Ritt Momney - "Set the Table" (feat. Claud)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/dSaTJbUenNU" width="320" youtube-src-id="dSaTJbUenNU"></iframe></div>Here's where I have to shout out The Alternative's <a href="https://open.spotify.com/playlist/6y4wz0Gmh2nMlBMjxduLCi?si=c18de77f84f7416b">weekly playlist</a>, which puts me on to lots of great music that I otherwise wouldn't have heard of. This is one of them. I still couldn't tell you anything about Ritt Momney aside from the fact that they have over four million monthly listeners on Spotify, so they probably got big on TikTok. But what I can tell you without a doubt is that "Set the Table" is one of the catchiest songs of the year. Those driving downstroked guitars mixed with the processed vocals under them are undeniable.</div><div><br /></div><div><b><br /></b></div><div><b>serpentwithfeet - "Same Size Shoe"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LoU64V-uFzQ" width="320" youtube-src-id="LoU64V-uFzQ"></iframe></div>"Me and my boo wear the same size shoe," serpentwithfeet joyfully sings multiple times during the chorus. The beauty and absurdity of that sentiment always gets me.</div><div><br /></div><div><b><br /></b></div><div><b>Sharon Van Etten - "On Your Way Now"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/i13LuSaPjnI" width="320" youtube-src-id="i13LuSaPjnI"></iframe></div>PBS aired a documentary called <i>Made in Boise</i> about surrogate mothers and this song, written by Mark McAdam and performed by Sharon Van Etten, was released as a part of that. Given those circumstances, you would think this is a minor song. On the contrary, it's gorgeous and devastating, and would be one of Van Etten's best songs if you could consider it that. The pre-chorus into chorus transition of "And I don't mind at all...well okay just a little bit" is a perfect encapsulation of the complicated emotions involved in surrogacy.</div><div><br /></div><div><b><br /></b></div><div><b>Sharon Van Etten & Angel Olsen - "Like I Used To"</b><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5ibj87fwRaM" width="320" youtube-src-id="5ibj87fwRaM"></iframe></div>I try to limit these lists to one song per artist, but 1. The ownership of this one feels like a pure 50/50 split, and 2. It's way too massive of a tune to leave off of this list. Imagine the most anthemic Bruce Springsteen song but delivered by two of indie rock's most stirring vocalists. Sound enticing? Well that's "Like I Used To" for you.</div><div><br /></div><div><b><br /></b></div><div><b>slowthai - "CANCELLED" (feat. Skepta)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oEKz62rwGkg" width="320" youtube-src-id="oEKz62rwGkg"></iframe></div>The best song of the year that references Alejandro Jodorowsky.</div><div><br /></div><div><b><br /></b></div><div><b>Soccer Mommy - "rom com 2004"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4askNInj7MA" width="320" youtube-src-id="4askNInj7MA"></iframe></div>In lieu of a new album, Soccer Mommy dropped a few loosies on us this year, including "rom com 2004," which sounds like the end credits music to a romantic film run through a washing machine. I don't know that I'd want a whole record of this, but as a one-off it's a real delight.</div><div><br /></div><div><b><br /></b></div><div><b>Squid - "Boy Racers"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bQsyUwziy4Y" width="320" youtube-src-id="bQsyUwziy4Y"></iframe></div>I had a love-hate relationship with the big British post-punk records of 2021. The Dry Cleaning album unlocked the secrets of the universe, but you couldn't pay me to listen to the interminable albums by black midi and Black Country, New Road again. I'm more in the middle on Squid -- <i>Bright Green Field</i> doesn't work for me as a whole, but there are some thrilling moments on it. My favorite song is "Boy Racers," which sounds like a more jittery LCD Soundsystem song that then ends with a section that resembles the THX deep note.</div><div><br /></div><div><b><br /></b></div><div><b>St. Vincent - "Down"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VQ9iAlm-sJ8" width="320" youtube-src-id="VQ9iAlm-sJ8"></iframe></div>Boy, that St. Vincent record from this year sure was bad, huh? A real miscalculation in terms of tone, style, narrative, everything. With that being said, "Down," which offers the most full-throated embrace of 70s sleaze funk, is a total winner.</div><div><br /></div><div><b><br /></b></div><div><b>The Staves - "Next Year, Next Time"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rJEMCdipgUg" width="320" youtube-src-id="rJEMCdipgUg"></iframe></div>There's nothing better than a good harmony, and band of sisters The Staves are chock full of them. "Next Year, Next Time" is top tier NPR-core, stacking the trio's gorgeous vocals on top of each other until they completely envelope you.</div><div><br /></div><div><b><br /></b></div><div><b>Sufjan Stevens & Angelo De Augustine - "It's Your Own Body and Mind"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/w7Imw_I-UYw" width="320" youtube-src-id="w7Imw_I-UYw"></iframe></div>As opposed to last year's major work <i>The Ascension</i>, the album Sufjan Stevens put out with his protégé Angelo De Augustine this year was a more minor affair. My main complaint is that there weren't enough songs where Sufjan Stevens took the sole lead vocal, which is why the gorgeous and fragile "It's Your Own Body and Mind" was such a standout.</div><div><br /></div><div><b><br /></b></div><div><b>(T-T)b - "Look At All the Shit on My Dresser"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/l6j7DVBpSAk" width="320" youtube-src-id="l6j7DVBpSAk"></iframe></div>Pure chiptune music often gives me a headache after a while. It's all just glitchy video game sounds that becomes a little too much if there's nothing to tether itself to. That's why I love chiptune sounds with a rock music base, like what (T-T)b does. Their <i>Suporma</i> EP is the kind of thing I wish there was more of. "Look At All the Shit on My Dresser" lays out a slacker rock anthem over a bed of 16-bit layers and it sounds like magic.</div><div><br /></div><div><br /></div><div><b>Taylor Swift - "Bye Bye Baby"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yuFuwXd-B9E" width="320" youtube-src-id="yuFuwXd-B9E"></iframe></div>When it comes to the rerecorded versions of <i>Fearless </i>and <i>Red</i>, my stance is that I'm happy for Taylor Swift for trying to reclaim ownership of these songs, but I have every detail of the original versions committed to memory, so anything different just doesn't sound right to me. I'm also appalled that publications are putting these albums on their 2021 list. With all of that being said, these <i>Taylor's Version</i> albums are worth it for giving us never released songs from the vault. Every single one of them is good, so it's hard to choose just one, but I'll go with "Bye Bye Baby." (I think the <i>Red</i> vault tracks might be better than the <i>Fearless</i> ones, but I've spent less time with them.) You usually know pretty quickly when you're in good hands with a Taylor Swift song. And when she starts with "It wasn't just like a movie / The rain didn't soak through my clothes, down to my skin" I immediately know I'm about to hear a banger. Swifties are probably upset with me for not choosing the 10-minute version of "All Too Well," but you can't improve on perfection (the original version of "All Too Well"). Sorry!</div><div><b><br /></b></div><div><b><br /></b></div><div><b>Tigers Jaw - "Lemon Mouth"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/aU7hNbcym4o" width="320" youtube-src-id="aU7hNbcym4o"></iframe></div>While all of <i>I Won't Care How You Remember Me</i> is terrific, I vastly prefer the songs where Brianna Collins sings over the ones where Ben Walsh takes the lead. "Lemon Mouth" shows her knack for effortless pop-punk hooks.</div><div><br /></div><div><b><br /></b></div><div><b>Tinashe - "Bouncin"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UitiKe2a9b4" width="320" youtube-src-id="UitiKe2a9b4"></iframe></div>"Boucin" is the sound of freedom. With label woes fully in the rearview, Tinashe's been making the music she wants to make, and the futuristic sheen of this song makes you mourn all the time she lost.</div><div><br /></div><div><b><br /></b></div><div><b>UV-TV - "Back to Nowhere"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RZfgVN9I6pI" width="320" youtube-src-id="RZfgVN9I6pI"></iframe></div>Gainesville band UV-TV has been around for a few years now, but this year's <i>Always Something</i> was my introduction to them. Lead single "Back to Nowhere" is a faded polaroid of a song, capturing that Breeders style of alt-rock exquisitely.</div><div><br /></div><div><b><br /></b></div><div><b>Vic Mensa - "Shelter" (feat. Wyclef Jean & Chance the Rapper)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YZUOMKsnkfE" width="320" youtube-src-id="YZUOMKsnkfE"></iframe></div>There's nothing likely to induce more groans than seeing a new Vic Mensa song featuring Wyclef and Chance the Rapper, but this song is great regardless. It's just three socially conscious cornballs spitting introspective pandemic bars. Chance the Rapper shows that he's still a terrific feature rapper, opening his verse with this evocative couplet: "There's a hundred bags under the underpass / Rumbling stomachs, cups jingle when Hummers pass."</div><div><br /></div><div><br /></div><div><b>Vince Staples - "LIL FADE"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MIqqeDZgAXA" width="320" youtube-src-id="MIqqeDZgAXA"></iframe></div>As much as it pains me to say this about a Vince Staples & Kenny Beats album, <i>Vince Staples </i>was a bit of a minor outing. There were still great songs, like "LIL FADE," which finds Staples firmly in the pocket of the laid-back groove Kenny Beats lays down.</div><div><br /></div><div><b><br /></b></div><div><b>Waxahatchee - "Fruits of My Labor"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/N2AM5F-vabI" width="320" youtube-src-id="N2AM5F-vabI"></iframe></div>Katie Crutchfield literalized her fandom of Lucinda Williams this year with a lovely cover of "Fruits of My Labor." That twang in her voice is more striking than ever here. She's always been a great cover artist (see also: her covers of Jessica Simpson's "With You" and Elliott Smith's "Angeles"), but this is undoubtedly her best one yet.</div><div><br /></div><div><b><br /></b></div><div><b>Weakened Friends - "25th"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/mUr51IvURLE" width="320" youtube-src-id="mUr51IvURLE"></iframe></div>This Weakened Friends album was a last minute squeeze-in and I'm glad I listened to it, because I wouldn't have wanted to miss out on "25th," a moving song of regret about a friend who passed away. It's unclear whether the death was from suicide or addiction, but the wailed chorus of "I wish I could crawl inside you and fix the things you don't like about you" over a wall of guitar squall wisely evokes the messy confusion and bargaining that grief brings.</div><div><br /></div><div><br /></div><div><b>The Weather Station - "Loss"</b></div><div><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5g05KYwN2UI" width="320" youtube-src-id="5g05KYwN2UI"></iframe></div>Ignorance</i> is probably the critical darling that resonated with me the least this year. It sounds pretty good, but there's not much variation in what it's delivering. If you've heard one song, you've heard them all. To save yourself some time, make that one song "Loss," which feels like the best possible version the one sound The Weather Station is trying to capture on the rest of the album.</div><div><br /></div><div><b><br /></b></div><div><b>Westside Gunn - "Westheimer" (feat. Steve God Cooks, Boldy James & Sauce Walka)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/z-AWsL7NOKQ" width="320" youtube-src-id="z-AWsL7NOKQ"></iframe></div>Don't take this as an indictment of Westside Gunn that I picked a song from<i> Hitler Wears Hermes 8</i> in which he doesn't even appear. It's just that "Westheimer" is spectacular. You expect Steve God Cooks and Boldy James to fit well on this slow, mournful beat but Sauce Walka brings things to a close by surprisingly sounding at home on something Frank Sinatra would sing over.</div><div><br /></div><div><b><br /></b></div><div><b>Wild Pink - "Amalfi"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OimWaudphas" width="320" youtube-src-id="OimWaudphas"></iframe></div>While I'm not quite as enraptured by Wild Pink as a section of the internet is, their expansive heartland rock hits the spot when you're looking for something to vibe out to. There's an airy synth line that carries "Amalfi" as it ambles along, not really in any hurry but nestling itself around you anyway.</div><div><br /></div><div><b><br /></b></div><div><b>Young Nudy - "Trap Shit" (feat. Future)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zRW8gu7vqfs" width="320" youtube-src-id="zRW8gu7vqfs"></iframe></div>After listening to <i>Rich Shooter</i> straight through one time, I decided it's another pretty good outing from a reliably fun rapper. But the only songs I've returned to are the five with Pi'erre Bourne beats. Nudy might be the best fit for Bourne's crazy, candy-coated video game melodies, and "Keep It In the Street," "Old School," "Green Bean," and "Money To Spend" are all worth listening to. "Trap Shit" is the cream of the crop though. It feels like there are three different melodies fighting for attention in this beat.</div><div><br /></div><div><b><br /></b></div><div><b>Young Thug - "Rich Nigga Shit" (feat. Juice WRLD)</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bxMJqGWXH2c" width="320" youtube-src-id="bxMJqGWXH2c"></iframe></div><i>Punk </i>is an album that's not even close to being peak Thugger, but like Young Nudy, you can always count on him to go in over a Pi'erre Bourne beat.</div><div><br /></div><div><b><br /></b></div><div><b>Zack Fox - "fafo"</b></div><div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qXd1YXegl1Q" width="320" youtube-src-id="qXd1YXegl1Q"></iframe></div>Somebody in the Stereogum comments perfectly described Zack Fox's album as sounding like something Mishka would have put out in the early 2010s. If that was your vibe back then, you'll definitely like "fafo," which is funny and slaps.</div></div></div><div><br /></div><div><br /></div><div>If you want to listen to all of these songs in one place, they can be found in the Spotify playlist below.</div>
<iframe allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/2hhotoBlLXgmsJNch0cz7F?utm_source=generator&theme=0" width="100%"></iframe>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com0tag:blogger.com,1999:blog-2395748504986705619.post-73091180300832374212021-11-02T00:30:00.001-04:002021-11-02T08:43:28.521-04:00Untangling HBO's knotty, entertaining The White Lotus<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-32oMSGlfMHU/YYCGwD3XEhI/AAAAAAAADew/_RgxxBXWG5M_mfYd0Arnh6Pr3qIiII4dACLcBGAsYHQ/s1717/The%2BWhite%2BLotus.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="966" data-original-width="1717" height="281" src="https://1.bp.blogspot.com/-32oMSGlfMHU/YYCGwD3XEhI/AAAAAAAADew/_RgxxBXWG5M_mfYd0Arnh6Pr3qIiII4dACLcBGAsYHQ/w400-h225/The%2BWhite%2BLotus.png" width="500" /></a></div><br /><div style="text-align: center;"><br /></div><div style="text-align: left;">Only about 100 people watched <i>Enlightened</i>, HBO's early 2010s oddball dramedy about a woman who has a philosophical awakening after a nervous breakdown upends her life, but we all loved the show with a frightening intensity and were devastated when it was cancelled after two wondrous seasons. It seemed like perhaps that show's early demise took alot out of its creator Mike White as well, as he mostly stayed away from television in the years after, alternating between writing well-received but little seen indie films and large studio movies meant to keep food on the table. It's not as if his focus on cinema was an alien turn for him, since some of his earliest critical successes (<i>Chuck & Buck</i>) and best-known works (<i>School of Rock</i>) come from the big screen, but it's hard not to feel like TV is the medium he's meant for. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well our wishes were finally granted with the premiere of HBO's miniseries-turned-ongoing-show <i>The White Lotus </i>earlier this year, the first series created by White in almost a decade. His penchant for social satire, his interest in New Age spirituality and wellness culture, his simultaneous love and hatred of humanity -- it all gets ported over to this story about a high-end Hawaiian resort and the three groups of guests who stay there for one fateful week. The first group is the Mossbachers, an affluent and dysfunctional tribe enjoying their family vacation. Then there's the Pattons, a newlywed couple made of Shane (Jake Lacy), who was born into money, and Rachel (Alexandra Daddario), who was not. Rounding it out is Tanya (Jennifer Coolidge), who has come to scatter the ashes of her recently deceased mother. In between all of that, there's also a focus on the people who work at The White Lotus, primarily hotel manager Armond (Murray Bartlett) and spa manager Belinda (Natasha Rothwell).</div><div style="text-align: left;"><br /></div><div style="text-align: left;">With such a heavy focus on the lives of privileged people, obviously the biggest struggle that detractors had with the show was that they felt it was hard to get invested in the main characters in a time like the one we're living through. In fact, even a friend of mine to whom I recommended the show -- and if you're that friend and are reading this, I'm sorry for the call out -- watched the first episode and their reaction was "So far all of the main characters are unlikable and have the POC working for them." To me, this poisonous need for likable characters in TV shows is a trend exacerbated by shows like <i>Parks and Recreation</i>, <i>Ted Lasso</i>, and <i>Schitt's Creek</i> that are so overly concerned with making the audience feel warm and funny at the expense of creating friction and challenging viewers. </div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>The White Lotus</i> eschews those desires and is all the better for it. This is a satire, and unlikability feels like the name of the game, the only way to understand its commentary on the difference between the haves and the have nots. Something that crystallized in a recent rewatch is just how clear the show makes the delineation between the characters who stay at the resort from those who serve them through its writing and filmmaking. "New Day," the show's second episode, opens with a montage of all the main guests at the hotel starting in a state of bliss, and then pointedly shifts to Belinda coming into work exhausted and Armond contemplating his sobriety. Later in the same episode, there's a scene where Shane is at the buffet piling food onto his plate and the camera cuts to a shot of two unnamed attendants who look on as if they have a world of problems we're not given access to. It's not a coincidence that Lani, the pregnant trainee who gives birth in the first episode, is shunted off after that, never to be seen again. A working class woman of color basically doesn't matter to this world of privilege.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">It helps that there's a gradient of likability amongst the main characters, where some seem more endearing in contrast with others. Sure, Armond is kind of a jerk and he did genuinely mess up by double booking the room the Pattons were supposed to be in, but his struggle to stay sober is genuinely sad. Yes, Mossbacher patriarch Mark (Steve Zahn) is a buffoon, but his health crisis in the early episodes and the rumination it inspires is truly engrossing. These are examples of what's at the heart of Mike White's strengths as a writer: his characters can be prickly and difficult, but he gives them such a depth and dimensionality that it's impossible not to find something engaging about them. He's so attuned to the facets of these people that he even puts incredible, character-revealing details in their reading choices. Olivia (Sydney Sweeney) and Paula (Brittany O'Grady) reading Freud and Nietzche, Rachel reading <i>My Brilliant Friend</i>, and Shane reading a Malcolm Gladwell book are all inspired choices that make you think "<i>Of course</i> they would be reading that."</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Even if you don't pick up on the more subtle moments the show has to offer, it also happens to be such pure pleasure on the surface. Each episode is a blast to watch, so funny and sharp and lively. And even though there aren't any grave stakes save a dead body teased in the very first scene (we'll get to that later), the story manages to feel propulsive, a sensation no doubt multiplied by the claustrophobic score that stampedes over every scene. White's longtime history as a TV writer comes into play as he knows how to craft an episode, giving each one a consistent day-night cycle that keeps everything structured and rhythmic. The plotting is intricate, keeping many plates spinning at once. There's a beautiful cause-and-effect nature, like the events all exist on a labyrinthine pinboard, where small moments such as Paula losing her bag full of drugs play into seismic stories like Armond falling off the wagon. Emotionally, the show works on that wavelength too, with temperaments stirred in one scene bleeding over and affecting that character's interactions with somebody unrelated.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">That elaborate storytelling supplements the wild tonal highwire act <i>The White Lotus</i> pulls off. Scenes can veer from levity to bracing pathos in a blink, often mixing the two together in a potent blend. It asks you to laugh at these characters and take them very seriously at the same time, and it always works. Tanya may be the the silliest character thanks to Jennifer Coolidge's delightfully spacey performance, but the scene in the first episode where she's telling Belinda about her dead mother is one of the most moving scenes of the entire series. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Every episode has at least one scene like that, where you can feel the ground shift under you and take you to a completely unexpected emotional terrain. There's that scene which happens in the dead center of episode two, where Nicole (Connie Britton) and Rachel have a thoughtful moment of connection between two career-minded women that totally takes a turn when Nicole finds out Rachel wrote a piece about her that she didn't like. And there's also the scene in episode five where Nicole confronts Mark about telling their son about an affair he had. For the whole series leading up to that moment, Nicole had been sketched like this laughable girlboss neoliberal who still loves Hillary Clinton, and then all of a sudden you're reminded that just like everyone else, she's a full human being with feelings that are capable of being hurt. The mastery of tone that these six episodes display is honestly staggering. You need the silliness to make the dramatic moments hit the way they do, and vice versa.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">The show's interrogation of its characters only gets more precise as it goes on, especially with the aforementioned Mossbachers. One of the treats of each episode is the recurring family dinners, which invariably become a discourse on class, privilege and gender, giving us ample opportunity to laugh at the irony of moments like Nicole and Mark going off on cancel culture while they enjoy being served at a resort on stolen land, watching indigenous people perform for their entertainment.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Paula's arc is the most fascinating thread in the Mossbacher web. She sees herself as the good guy, the person of color outsider who's different from the out-of-touch people she's vacationing with and chooses to try to help Kai, the local guy she has a tryst with. It's tempting to see her that way in comparison to the Mossbachers too. But it's notable that the thing that pushes her to hatch a plan for Kai to steal jewelry from the safe in their hotel room while the family's away is Olivia flirting with him, which makes her actions seem more driven by getting revenge on her friend than any kind of altruism. Her plan is also one where all of the risk is on Kai and virtually none of it is on her.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">(I also just love that the Mossbacher marriage is saved by Mark assuming a traditionally masculine role of the protector when he defends his wife from Kai, especially since his whole arc is centered around his crisis of masculinity, between his testicle issues, finding out his father was a closeted gay man, and wrestling with his own role as a father.)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">"Departures," the show's finale, is a masterclass. Of plotting, of theme, of emotions. Everything. One of the two main themes that dominates and adds complexity to the episode is that one person's self-actualization serves as a detriment to another. Tanya realizing that she shouldn't have transactional relationships is a promising breakthrough and moment of personal growth for her on its own, but it comes at the expense of her not helping Belinda start her business. And consequently, Belinda discovering that she doesn't need to take on so much emotional labor for the hotel guests is great, but maybe if that didn't happen, she could've advised Rachel not to commit to a marriage that's crushing her soul. Rachel's decision bleeds into the next overriding theme of the season's conclusion: people choosing what's easy over what's right (which we also see when Paula ultimately comes to terms with the fact that the Mossbachers are her people).</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Tanya and Rachel's conclusions are the ones that hit the hardest for me. The former hurts so much because she felt like the most endearing and least monstrous hotel guest of the ensemble. When it turns out that the rich will perpetually be who they are, it stings that much more because we were hoping that wouldn't be the case for her. Ditto Rachel, whose arc is enthralling mostly due to Alexandra Daddario's performance. Daddario is an actress who has mostly been stuck playing Hot Girl With Big Boobs roles, so it was a surprise to see her give such a layered turn here. Rachel may not be the person who ends up dead in a box at the end, but in a way she chooses a different kind of death. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Speaking of dead people in boxes...if there's a quibble I have with the show it's that I wonder if the dead body mystery should've been excised altogether. Granted, I found the conclusion of Armond being the one who gets killed at the hands of Shane satisfying narratively. Not only does it feel like a perfect capper to the chest-puffing back and forth the two of them were embroiled in throughout the season, but it also fits into to the pattern of all of the guests coming away from this week with their lives essentially returning to the status quo, while all of the staff characters end up with tragic fates. But the tease of the coffin in the first episode feels like something out of show in the <i>Big Little Lies</i> milieu that subsequently caused some people to focus too much on that aspect miss out on the other richness this world had to offer.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">One criticism I cannot abide by, however, is the charge that the show doesn't have anything interesting or new to say. Judging from the previous 14 paragraphs I wrote, obviously I disagree with the "interesting" part of that claim. As far as the "new" goes: The shows criticizing the rich that we get are often in the vein of <i>Succession</i>, painting the upper class as douchebags of the highest order, living on a completely different planet than the rest of the word. Don't get me wrong, there's nothing wrong with that. <i>Succession</i> is the best show on television. But <i>The White Lotus</i> is the first show I've seen that really examines this new strata that's come to prominence in the last decade and a half, which is the rich liberal who doesn't think they're a part of the problem. White uses lots of in-the-moment terminology in the series -- "triggered," "cucked," #MeToo -- and it's clear he's having fun with it, but he's also commenting on the fact that all of the political things that get discussed are just abstract ideas to these people. Olivia may accuse her mother's tech company of "dismantling the social fabric," but at the end of the day, she's unwilling to acknowledge or give up the privilege she holds. That it's characters are unaware of or deliberately obtuse about the power they wield might be the savviest thing about this terrific show.</div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com1tag:blogger.com,1999:blog-2395748504986705619.post-83410607318790184722020-12-31T00:01:00.656-05:002020-12-31T00:01:00.171-05:00My 20 Favorite Television Shows of 2020<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LjsT1nNehfs/X9mExmc2TrI/AAAAAAAADYw/DCBtJCy_TPc8fiTsmtcHUk0RusQrfw5bgCLcBGAsYHQ/s1920/Best%2Bof%2Btv%2Bpicture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="281" src="https://1.bp.blogspot.com/-LjsT1nNehfs/X9mExmc2TrI/AAAAAAAADYw/DCBtJCy_TPc8fiTsmtcHUk0RusQrfw5bgCLcBGAsYHQ/w400-h225/Best%2Bof%2Btv%2Bpicture.jpg" width="500" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">As always, I'm introducing my television wrap-up list by giving an update on my quest to watch less than 100 shows in a year. I may have failed in the previous years, but folks, I finally did it. In 2020, I fully watched -- meaning I saw every episode a series aired in the calendar year -- only 93 shows. I'd like to thank my dear friend, the novel coronavirus, without whom none of this would be possible.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">If you're thinking "93 shows is still too much television," well, you wouldn't be wrong. That's not even counting the many shows I checked out for one or two episodes and then quit. Despite some seasons getting pushed back and others getting cut short, there was still an avalanche of television put out this year. Out of any small crack in the landscape will pop a new streaming service these days, so now along with the usual suspects, we had Peacock originals and HBO Max originals and, for a brief period of time, Quibi originals (RIP). It's hard to even consider myself a TV expert anymore. Any time I tell somebody that I watch alot of TV, they'll inevitably say something like "Oh cool, have you seen that new Netflix show about the anthropomorphic cat who's also a depressed sex worker?" Before you fire up your search engine, that show does not actually exist, but the point is that there's a whole culture of streaming service crate-digging that I'm just not keyed into at all.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Despite my decreasing completionism, my love of the medium hasn't abated. 2020 was an excellent year in television -- it may not have had the depth of previous years, but the sheer breadth of it was refreshing and exciting. The best of what the year had to offer came in so many different forms, including anime, docuseries, and especially the increasingly popular limited series format. There was also a great mix of old favorites and new surprises. In fact, the number one entry on this list was a sensation that nobody saw coming. What show is that? Find out below!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> Last year I implemented a new rule to help account for streaming seasons that got dropped at the end of the year, and I'll be continuing that this year. So for any show whose entire season drops at once, the eligibility window for this list is if that season dropped between December 13, 2019 and December 10, 2020. So season 2 of <i>You</i>, which Netflix dropped all at once on December 26, 2019, is eligible for this list. Any streaming season that dropped after December 10th of this year will be eligible for next year's list. I know it's confusing but that's the only why I can maintain my sanity and not have to catch up on things at the very last minute. Thankfully the rules are simpler for shows that air weekly. For those cases, any episode that aired between January 1, 2020 and December 31, 2020 are considered for this ranking.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a name='more'></a><br /><b>Honorable Mentions (25-21)</b><br /><b><i>Primal</i> (Adult Swim)</b> came back even more ferocious in this year's batch of episodes, and it continues to be one of the best displays of pure visual storytelling on television. Arguments about whether it's a movie or TV show shouldn't distract from the power of <i style="font-weight: bold;">Small Axe</i><span style="font-weight: bold;"> (Amazon Prime)</span>, Steve McQueen's excellent anthology of UK stories centering around West Indian life. The single camera sitcom is currently having a dull period, but <i style="font-weight: bold;">Mythic Quest</i><span style="font-weight: bold;"> (Apple TV+)</span> is one of the best to come around in a few years, thanks to its hilarious workplace antics and fun ensemble. In its third season, <i style="font-weight: bold;">Search Party</i> <b>(HBO Max)</b> pivoted to courtroom satire, another great avenue to show off the show's razor-sharp character work. Every episode of the singular comedic docuseries <b><i>How To with John Wilson </i>(HBO)</b> featured something unexpected, whether it was a deranged story turn, a left-field moment of pathos, or an extended detour about foreskin.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>20. Dave (FXX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-CtRRBEKuTyY/X-AiHqXQHtI/AAAAAAAADZU/IM_6nUIXPnoTO-_LFAaZt2AadVAPKEauQCLcBGAsYHQ/s1284/Dave.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="856" data-original-width="1284" height="300" src="https://1.bp.blogspot.com/-CtRRBEKuTyY/X-AiHqXQHtI/AAAAAAAADZU/IM_6nUIXPnoTO-_LFAaZt2AadVAPKEauQCLcBGAsYHQ/w400-h266/Dave.jpg" width="450" /></a></div></div><div style="text-align: left;">If there's any case for not judging a book by its cover, let it be FXX's <i>Dave</i>. From the fact that it stars joke rapper Lil Dicky to the incessant promos at the beginning of the year, the show seemed like an annoying disaster at worst and an amusing trifle at best. Instead, what we got was the best new comedy of the year. Packed with a highly specific sense of humor, a playful sense of surreality, and a fun take on the rap world, the show coaxes laughs out of you with ease and frequency. But most impressive of all is its willingness to break from Dave's point of view and focus on the supporting cast, particularly Lil Dicky's hypeman GaTa, who's the funniest character and also turns out to contain hidden depths. Throughout its first season, <i>Dave</i> keeps piling on more surprises and delights. You won't regret giving it a chance.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>19. The Last Dance (ESPN)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-e7flBHesIDg/X9JAwexM6PI/AAAAAAAADVU/Pxnn_D02hzchNQqMF-wNikDZdcHvCrLkwCLcBGAsYHQ/s780/The%2BLast%2BDance.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="780" height="315" src="https://1.bp.blogspot.com/-e7flBHesIDg/X9JAwexM6PI/AAAAAAAADVU/Pxnn_D02hzchNQqMF-wNikDZdcHvCrLkwCLcBGAsYHQ/w400-h280/The%2BLast%2BDance.jpg" width="450" /></a></div></div><div style="text-align: left;">Last year, any person who follows TV closely would have told you that event television died with the ending of <i>Game of Thrones</i>. But for five glorious weeks in the beginning of lockdown this year it was alive and well with the airing of <i>The Last Dance</i>, the docuseries chronicling the 1997-98 Chicago Bulls season and Michael Jordan's career as a whole. Everyone and their mother, basketball fan or not, seemed to be watching as it was on. And with good reason too -- this 10-part series reminded us that Michael Jordan is not only one of the greatest athletes of all time, but also one of the greatest sports personalities of all time. The insane competitiveness, the unrelenting drive, the willingness to clown on any and everyone; seeing it all laid out together made for compelling television and even better memes. Despite the fact that anyone who loves basketball knew much of what the series depicts, it was still impressively satisfying drama. On some level, <i>The Last Dance </i>is just nostalgia bait, but sometimes art hits at the exact right moment.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>18. The Good Fight (CBS All Access)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kDTy3AChNNA/X9JBanALMmI/AAAAAAAADVc/mYHbXPrkRjUltDPN9aCv9mGkVR-LsBvTgCLcBGAsYHQ/s2000/The%2BGood%2BFight.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="300" src="https://1.bp.blogspot.com/-kDTy3AChNNA/X9JBanALMmI/AAAAAAAADVc/mYHbXPrkRjUltDPN9aCv9mGkVR-LsBvTgCLcBGAsYHQ/w400-h266/The%2BGood%2BFight.jpg" width="450" /></a></div></div><div style="text-align: left;">Four seasons in and ostensible legal drama <i>The Good Fight</i> is still finding zany new ways to engage with current events and our political climate. This year, there was an episode set in an alternative universe where Hilary Clinton won the 2016 election, but Harvey Weinstein was still a powerful movie executive who was never brought down by sexual misconduct allegations. There was an episode that featured an extended parody of Jeremy O. Harris' racial roleplay drama <i>Slave Play</i>. There was an episode titled "The Gang Discovers Who Killed Jeffrey Epstein" about, well, I'm sure you can guess what. It would be insufferable if it wasn't such a delight, and if the writers weren't also juggling engaging legal plots along with it. The only shame is that the pandemic abruptly cut this season short. Who knows how much crazier it could have gotten.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>17. BNA: Brand New Animal (Netflix/Japan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-P1MFC6RnZlw/X9JDVHcqqAI/AAAAAAAADVo/7tdm-RpJSL8Ba3S5GP1zt05W7c6lrS_qQCLcBGAsYHQ/s640/BNA%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="255" src="https://1.bp.blogspot.com/-P1MFC6RnZlw/X9JDVHcqqAI/AAAAAAAADVo/7tdm-RpJSL8Ba3S5GP1zt05W7c6lrS_qQCLcBGAsYHQ/w400-h225/BNA%2B1.jpg" width="450" /></a></div></div><div style="text-align: left;">This year the beloved anime production company Studio Trigger returned with <i>BNA</i>, a series set in a world where humans cohabitate with humanoid animals known as beastmen. That premise is used as a jumping off point for the show's metaphors about racism and xenophobia, which are quite thoughtful if not always subtle. But let's be honest, this is Studio Trigger we're talking about here -- the team that gave us series famous for their incredible animation and unique art style like <i>Gurren Lagann</i>, <i>Kill La Kill</i>, and <i>Little Witch Academia</i> -- so the main draw here is how it looks. And <i>BNA </i>really does look superb, full of eye-popping colors and sequences of off-the-charts sakuga. Trigger's signature Western-tinged style and simple character designs allows for fluidity in movement, which they use to bend frames to their limit. Even at times when the story falters, the visual candy is more than enough to keep you sated.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>16. Mrs. America (FX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-IRayumzRGFo/X9JDz8KI0EI/AAAAAAAADVw/Mgz1DN4J6YUTt9Vi4AKJAHpB8o_at3EKgCLcBGAsYHQ/s1200/Mrs.%2BAmerica.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="236" src="https://1.bp.blogspot.com/-IRayumzRGFo/X9JDz8KI0EI/AAAAAAAADVw/Mgz1DN4J6YUTt9Vi4AKJAHpB8o_at3EKgCLcBGAsYHQ/w400-h210/Mrs.%2BAmerica.jpg" width="450" /></a></div></div><div style="text-align: left;">TV has advanced as a medium enough that it no longer seems like a movie star is slumming it when they're in a television series, but it still feels like a big deal that Cate Blanchett stars in <i>Mrs. America</i>. She disappears into the role of Phyllis Schlafly, the conservative figure who played a crucial role in trying to quash the passing of the Equal Rights Amendment, embodying her tenacity and showmanship so thoroughly that it never stops feeling like you're watching a master at the peak of their craft. But to the show's benefit, it's much more of an ensemble piece than the promotion would have you believe. <i>Mrs. America</i> expands with each episode, digging into the stories of many of the women on both sides of the fight with a keen eye and an open heart. Backed by excellent direction, every moment is focused on the characters' thoughts and feelings, hopes and disappointments, maximizing its ideas and emotions with the minimum amount of words and gestures. So many shows are preoccupied with plot that it's almost startling to see a show sit with characters as they act and react. The emotional radius of this miniseries is immense.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>15. City So Real (National Geographic)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-l17PWOGPaeo/X9JEQfFYA4I/AAAAAAAADV4/0l-ZQ2drzXgXClQ1lrdr9e-xWJkyMvvBgCLcBGAsYHQ/s1100/City%2BSo%2BReal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="619" data-original-width="1100" height="255" src="https://1.bp.blogspot.com/-l17PWOGPaeo/X9JEQfFYA4I/AAAAAAAADV4/0l-ZQ2drzXgXClQ1lrdr9e-xWJkyMvvBgCLcBGAsYHQ/w400-h225/City%2BSo%2BReal.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>America to Me</i> was the number one show on the <a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-television-shows-of-2018.html">2018 version of this list</a>, and this year the great documentarian Steve James came back with another excellent portrait of Chicago. <i>City So Real</i> cuts a wider swath, juggling three main plotlines -- police violence, the slow creep of gentrification, and the 2019 mayoral election -- deftly showing not only how they all weave together, but how each subsection of this intricate city plays a different role. James has an unobtrusive interest in civics and people, and the best moments of the docuseries are the frequent instances where he just lets the camera observe ordinary institutional processes play out. The disingenuous nature of the political game is laid bare over the course of its five parts, but you may come away inspired by the power of the individual spirit, and how culture can still thrive under the worst circumstances.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>14. The Plot Against America (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-cMKM-ned28I/X9JFJq71dhI/AAAAAAAADWA/t04dFCHv18QjMB280WL_A8KR5RzFfhbXgCLcBGAsYHQ/s2048/The%2BPlot%2BAgainst%2BAmerica.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-cMKM-ned28I/X9JFJq71dhI/AAAAAAAADWA/t04dFCHv18QjMB280WL_A8KR5RzFfhbXgCLcBGAsYHQ/w400-h266/The%2BPlot%2BAgainst%2BAmerica.jpg" width="450" /></a></div></div><div style="text-align: left;">At this point, you can just expect David Simon to produce excellent television whenever he steps up to the plate. A year after the great series <i>The Deuce</i> ended, he returned with an adaptation of Philip Roth's <i>The Plot Against America</i>, an alternative history novel that charts the political rise of Charles Lindbergh in the 1940s, and the fascism that ferments in its wake. Despite its status as a work of fiction, its depiction of the way power conglomerates and how hate can win is all too real. Lest it feel like a distanced intellectual exercise, its focus on the events through the eyes of a working class Jewish family gives it a powerful human element. Backed by incredible performances -- particularly Zoe Kazan, who steals the show -- to match the fantastic writing, <i>The Plot Against America</i> was just the splash of cold water that was necessary this year.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>13. My Brilliant Friend (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-IvdHhAFG3Nc/X9JFkd6ED2I/AAAAAAAADWI/ip4jLOBlx24c3Bmh5la1_voMDLJGue5RwCLcBGAsYHQ/s600/My%2BBrilliant%2BFriend.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="600" height="255" src="https://1.bp.blogspot.com/-IvdHhAFG3Nc/X9JFkd6ED2I/AAAAAAAADWI/ip4jLOBlx24c3Bmh5la1_voMDLJGue5RwCLcBGAsYHQ/w400-h225/My%2BBrilliant%2BFriend.jpg" width="450" /></a></div></div><div style="text-align: left;">International co-productions have become more common on HBO as its purchase by AT&T led to an increase in their content slate, but back in 2018 the first season of the Italian series <i>My Brilliant Friend</i> felt like a marvel. Even now that international series on HBO are more of a norm, the series still stands out as one of the best. Season two broadened the scope of the story, following Elena and Lila into adulthood after their lives take divergent paths, but it was still just as rich and engrossing as the first season. The tumultuous relationship between these women is wonderfully wrought, as is the drama among the entire web of supporting characters, and it's all filmed with such precise intensity. <i>My Brilliant</i> <i>Friend</i> shows how impressive soaps can be when they're operating at the highest level.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: center;"><b>12. Normal People (Hulu)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-gqOatBBgQxM/X9JIGYOGe8I/AAAAAAAADWg/MQjcAiSyJaMGFvgA29HhCv8GPEgl78kBgCLcBGAsYHQ/s2048/Normal%2BPeople.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-gqOatBBgQxM/X9JIGYOGe8I/AAAAAAAADWg/MQjcAiSyJaMGFvgA29HhCv8GPEgl78kBgCLcBGAsYHQ/w400-h266/Normal%2BPeople.jpg" width="450" /></a></div></div><div>Sally Rooney's 2018 novel <i>Normal People</i> was a stellar story about the complex relationship between two individuals as they age into adulthood, but adapting it seemed like a tricky task in theory. Part of what's rewarding about the book is the lacerating internal monologuing Rooney employs, not to mention the fact that the narrative plays out over the course of many years, both of which are difficult to depict onscreen. Thankfully, the visual translation works wonders, pulling off the magic trick of being almost entirely faithful to the plot of the novel while providing a different emotional experience. Without the book's probing prose, alot of the subtle emotional shifts fall on the shoulders of lead actors Paul Mescal and Daisy Edgar-Jones, who convey Connell and Marianne's bracing dynamic with aplomb. <i>Normal People</i>'s story of sex, class, and the twin journeys that come together and fall apart over time is intensely moving, and it provides some of the most emotionally open moments I've ever seen on TV.</div><div><br /></div><div><br /></div><div style="text-align: center;"><b>11. Legacies (CW)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mMMyn8_Uxt4/X9JIkH27oeI/AAAAAAAADWo/rvPzoPy7wzo9uSZyghRqKTCpPaRGmq6hgCLcBGAsYHQ/s580/Legacies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="387" data-original-width="580" height="300" src="https://1.bp.blogspot.com/-mMMyn8_Uxt4/X9JIkH27oeI/AAAAAAAADWo/rvPzoPy7wzo9uSZyghRqKTCpPaRGmq6hgCLcBGAsYHQ/w400-h268/Legacies.jpg" width="450" /></a></div></div><div>Thanks to the pandemic, we were only blessed with eight episodes of <i>Legacies</i> this year. While the third season got pushed back to early 2021, the back half of season two at the beginning of this year was such a joy that it more than earned its spot on the list. Simply put, this spinoff-of-a-spinoff fantasy show set at a magic school is one of the most fun shows on the air. There's no concept too wacky and no twist too wild for the series, all while having the rock solid structural chops that keep every episode fast-paced and thrilling. The CW has become full of turgid DC shows and past-their-prime genre relics, but <i>Legacies</i> is still carrying the flame for what once was one of the most exciting networks for a while.</div><div><br /></div><div><br /></div></div><div style="text-align: left;"><div style="text-align: center;"><b>10. I May Destroy You (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RBCkv4QIiJE/X9JI9VrssQI/AAAAAAAADWw/t61LeaXCjdMXw4hCZaRBe3IbCkeSuSF7QCLcBGAsYHQ/s1200/I%2BMay%2BDestroy%2BYou.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="236" src="https://1.bp.blogspot.com/-RBCkv4QIiJE/X9JI9VrssQI/AAAAAAAADWw/t61LeaXCjdMXw4hCZaRBe3IbCkeSuSF7QCLcBGAsYHQ/w400-h210/I%2BMay%2BDestroy%2BYou.jpeg" width="450" /></a></div></div><div>There's nothing better than a big swing in television. <i>I May Destroy You</i> starts with the pretty straightforward premise of a woman trying to unravel the mystery of her sexual assault, but it slowly begins to reveal itself to have a much wider perspective than it initially lets on. Across its different storylines, the show muses on various breaches of boundaries and consent, and how they all inform each other and exist on a spectrum. And the season plays with form, point of view, and expectations freely, expanding to the point where it feels like it contains the whole universe within it. Not all of its choices work -- whatever the show is trying to say about social media and digital personas feels nebulous at best -- but that's a tradeoff you'll be willing to take when so many of the show's reaches work. <i>I May Destroy You</i> is a fully living and breathing work, and watching it unfold is an electrifying experience.</div><div><br /></div><div><br /></div></div><div style="text-align: center;"><b>9. Curb Your Enthusiasm (HBO)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-TVXYEjlaziQ/X9JJiTygw8I/AAAAAAAADW4/cO_VJx9KiH4EBRx8lO38y64v0OuMV6IxgCLcBGAsYHQ/s1280/Curb%2BYour%2BEnthusiasm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="255" src="https://1.bp.blogspot.com/-TVXYEjlaziQ/X9JJiTygw8I/AAAAAAAADW4/cO_VJx9KiH4EBRx8lO38y64v0OuMV6IxgCLcBGAsYHQ/w400-h225/Curb%2BYour%2BEnthusiasm.jpg" width="450" /></a></div></div><div style="text-align: left;">The two and a half months before the pandemic became a serious concern in America feel like an entire lifetime ago, so it's easy to forget that there was a new season of <i>Curb Your Enthusiasm</i> this year. That would be a shame though, because the 10th season of the show was true excellence. After a three year break and a ninth season that not everyone enjoyed, the farcical adventures of Larry David came back with a surprising sharpness, riffing on topical things like MAGA hats and Harvey Weinstein while also inventing delightful new <i>Curb</i>-isms like spite stores and pee cubes. The show's ability to thread several comedic premises and have them pay off in symphony is unlike anything else, and this season especially reminded us why Larry David is a master.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><b>8. Keep Your Hands Off Eizouken! (Crunchyroll/Japan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6Lt-7K268mc/X9JJy0kEMfI/AAAAAAAADXA/G4AAewFPZzw9SpQOn00oc_sN21EGuy5fgCLcBGAsYHQ/s750/Keep%2BYour%2BHands%2BOff%2BEizouken.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="750" height="240" src="https://1.bp.blogspot.com/-6Lt-7K268mc/X9JJy0kEMfI/AAAAAAAADXA/G4AAewFPZzw9SpQOn00oc_sN21EGuy5fgCLcBGAsYHQ/w400-h214/Keep%2BYour%2BHands%2BOff%2BEizouken.png" width="450" /></a></div></div><div style="text-align: left;">Art about making art runs the risk of being navel gazing, but if it pushes the right buttons it can result in something transcendent. Such is the case with <i>Keep Your Hands Off Eizouken!</i>, the latest work from the prolific anime auteur Masaaki Yuasa. The key is the angle the story approaches the material from, choosing to make it about a trio of high school girls who come together to make anime as opposed to a group of experts doing so. Bursting at the seams with exuberance, the show embodies the joy of creation with its striking direction, fluid animation, and fantastical brainstorming sequences. But along the way it also doubles as a wholesome story of friendship, and how beautiful it can be to bond with people over a shared goal.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>7. Better Call Saul (AMC)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-QHRcjpi3kIw/X9JKYo8IzSI/AAAAAAAADXI/WTzjfBgOjgI80JVpR8hDpE3zQcMsAQvswCLcBGAsYHQ/s1024/Better%2BCall%2BSaul%2Bseason%2B5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="556" data-original-width="1024" height="245" src="https://1.bp.blogspot.com/-QHRcjpi3kIw/X9JKYo8IzSI/AAAAAAAADXI/WTzjfBgOjgI80JVpR8hDpE3zQcMsAQvswCLcBGAsYHQ/w400-h217/Better%2BCall%2BSaul%2Bseason%2B5.jpg" width="450" /></a></div></div><div style="text-align: left;">Since the show's inception, <i>Better Call Saul</i> has basically been two series in one -- the legal half featuring Jimmy and Kim, and the drug trade half featuring Mike and Gus -- and while the first four seasons did an excellent job of keeping these separate parts compelling on their own, it always felt like buildup to when those worlds would collide. They finally did in its fifth and best season, which upped the stakes and brought the show's simmering tendencies to a boil. <i>Better Call Saul</i> has always had a high degree of difficulty, but season five felt particularly skillful in its weaving of threads from disparate corners of the universe, all while keeping the fidelity of its characters intact. There have always been assertions that <i>Better Call Saul</i> is a better series than <i>Breaking Bad</i>, which felt like people trying their best to stake claim on a hip take, but this year that really seemed possible.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>6. Devs (FX)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VUo2dfm9UO8/X9JK_tu887I/AAAAAAAADXU/tGi08Z6lyrIR7Uip6zlKjW_hQp2z5RmDwCLcBGAsYHQ/s2048/Devs.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-VUo2dfm9UO8/X9JK_tu887I/AAAAAAAADXU/tGi08Z6lyrIR7Uip6zlKjW_hQp2z5RmDwCLcBGAsYHQ/w400-h266/Devs.jpg" width="450" /></a></div></div><div style="text-align: left;">The limited series format has been having a big moment for the last few years, often offering filmmakers the opportunity to tell the kind of stories they can't make on the big screen anymore. Sometimes that leads to distended storytelling, but sometimes you get Alex Garland's heady <i>Devs</i>. Garland brings his usual methodical, slow-burn style that he brought to great sci-fi films like <i>Ex Machina </i>and <i>Annihilation</i>,<i> </i>but the freedom of the eight-episode length allows for that style to really cook. If that pace didn't work for you in a movie format, <i>Devs </i>may make you want to rip your hair out, but if you're willing to meet the show at its tempo, it offers up a fascinating, mysterious work of speculative fiction that muses on determinism while delivering wonderful twists and turns along the way.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: center;"><b>5. The Baby-Sitter's Club (Netflix)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RaeDbYiubZk/X9JMJaS_StI/AAAAAAAADXg/RNO1QDzKrGgF9uoGztth0lZqX-Zm61CNQCLcBGAsYHQ/s644/The%2BBabysitters%2BClub.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="362" data-original-width="644" height="255" src="https://1.bp.blogspot.com/-RaeDbYiubZk/X9JMJaS_StI/AAAAAAAADXg/RNO1QDzKrGgF9uoGztth0lZqX-Zm61CNQCLcBGAsYHQ/w400-h225/The%2BBabysitters%2BClub.jpg" width="450" /></a></div></div><div style="text-align: left;">Television has always been sorely lacking in an equivalent to middle grade fiction, generally jumping from cartoons and multi-cam comedies for small children straight to sexy CW shows for older teens. How fitting that the rare great middle grade show comes in the form of an adaptation of one of the most famous book series of all time: <i>The Baby-Sitter's Club</i>. If you even have a passing familiarity with the books, you know the archetypes of the titular babysitters -- Kristy is a bossy tomboy, Mary Anne is bookish and shy, Claudia is the artistic one, Stacy is boy-crazy and fashionable, and Dawn...is from California -- but over the show's first season, the characters only get deeper and more personable thanks to revolving spotlight episodes. <i>The Baby-Sitter's Club</i> uses the job-of-the-week format to tell stories that delicately balance being funny and effervescent while also tackling issues like gender identity, chronic illness, and divorce. All of that makes it not only the surprise gem of the year, but as good of an adaptation of a beloved series as one could hope for.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: center;"><b>4. The Magicians (Syfy)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0uqKMoe6eBI/X9JNRGvB2vI/AAAAAAAADXs/7MkCHbWjSQoEkzPgSO_DWSPEVC4oOJyQgCLcBGAsYHQ/s768/The%2BMagicians.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="768" height="255" src="https://1.bp.blogspot.com/-0uqKMoe6eBI/X9JNRGvB2vI/AAAAAAAADXs/7MkCHbWjSQoEkzPgSO_DWSPEVC4oOJyQgCLcBGAsYHQ/w400-h225/The%2BMagicians.jpg" width="450" /></a></div></div><div style="text-align: left;">Over the past decade, genre television has slowly crawled out the ghetto of low budgets and Friday night timeslots -- hits like <i>Game of Thrones</i> and <i>Westworld</i> made sure that fantasy and sci-fi were allowed to play at the prestige table. But for five glorious seasons, <i>The Magicians</i> was one of the last flag-bearers of the kind of genre storytelling that dominated the 90s and early 2000s, chugging along with a reckless abandon and sense of play that highbrow shows have become afraid of. It was able to get away with its fly-by-the-seat-of-your-pants approach because of the genuine creativity of the writing staff and the engaging ensemble cast, and things were no different in the show's final season, a touching, funny, and imaginative goodbye to Fillory and friends.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>3. The Eric Andre Show (Adult Swim)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-frvWrOWJ7Ws/X9JbkqECozI/AAAAAAAADX4/pIF-wkBG15QYB-AaawyhQynIRZaF_ztgACLcBGAsYHQ/s780/The%2BEric%2BAndre%2BShow.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="521" data-original-width="780" height="268" src="https://1.bp.blogspot.com/-frvWrOWJ7Ws/X9JbkqECozI/AAAAAAAADX4/pIF-wkBG15QYB-AaawyhQynIRZaF_ztgACLcBGAsYHQ/w400-h268/The%2BEric%2BAndre%2BShow.jpeg" width="400" /></a></div></div><div style="text-align: left;">After a four year hiatus, <i>The Eric Andre Show</i> returned for its fifth season, and though there were some changes to the show -- including co-host Hannibal Burress leaving -- there were no signs of rust. It's still the reigning champion of having more laughs per minute than any other show on television, continuing its bizarro approach to the late night talk show format and deranged style of upping the comedic stakes. The chaotic "celebrity" interviews are always a treat, but the man-on-the-street prank segments are the uproarious highlight of every episode. New bits and characters like Mike Penis ("I'm named after my father's penis!") were introduced, but old favorites like the Ranch guy make hilarious returns. <i>The Eric Andre Show</i>'s brevity is a part of the appeal, but with how consistently funny it still is, you almost wish it could last longer.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: center;"><b>2. PEN15 (Hulu)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Qmtodb4oxhs/X9JcAn3zXHI/AAAAAAAADYA/hFUsWhKyW9A1bfVmQZ5_0RcKqmWh3lPvwCLcBGAsYHQ/s2048/PEN15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="255" src="https://1.bp.blogspot.com/-Qmtodb4oxhs/X9JcAn3zXHI/AAAAAAAADYA/hFUsWhKyW9A1bfVmQZ5_0RcKqmWh3lPvwCLcBGAsYHQ/w400-h225/PEN15.jpg" width="450" /></a></div></div><div style="text-align: left;">Far too often comedies sacrifice laughs for heart, resulting in shows that are barely funny but flatter audiences with their sense of niceness. On the other end of the spectrum, you can go too far and produce a joke machine that's full of laughs but feels robotic. <i>PEN15</i> seems to have cracked the code. It's one of the most hilarious shows running right now, so perfectly attuned to both the tiny eccentricities of its two leads (Maya Erskine and Anna Konkle, giving two all-timer comedic performances) and the cringey artifacts of early 2000s nostalgia. And yet the laughs never get in the way of genuinely satisfying emotional beats exploring friendship and the indignities of adolescent life. Even in its second season, which may have been better than the first, the show feels like a miracle highwire act. While we may not want to relive our own teenage years, it's joy to watch these two women in their 30s do so.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: center;"><b>1. The Queen's Gambit (Netflix)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Aq7iz9Jmekc/X9Jc3-cSitI/AAAAAAAADYM/-izgh51MNJA7SX6GT0pGuxn20oQucOH6QCLcBGAsYHQ/s2048/The%2BQueen%2527s%2BGambit.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-Aq7iz9Jmekc/X9Jc3-cSitI/AAAAAAAADYM/-izgh51MNJA7SX6GT0pGuxn20oQucOH6QCLcBGAsYHQ/w400-h266/The%2BQueen%2527s%2BGambit.jpeg" width="450" /></a></div></div><div style="text-align: left;">Look, I watch a ton of TV. When so much of it is merely serviceable -- especially as it increasingly feels like networks and streaming services only create shows to feed the perpetual content mill -- the pursuit of watching and studying television can feel like a waste of time. But I do it in the hope that the latest thing I check out will be something truly great, something that reminds me why I love the medium so much in the first place. <i>The Queen's Gambit</i> is that show. A series that's ostensibly about chess, a boring and complicated game to most, should be difficult to get into, but it's used as a vessel for a riveting bildungsroman about a woman who's both blessed and cursed with the gift of being incredible at it. The miniseries feels so rich and alive, with every relationship and interaction playing out with a surprising depth, on top of the thrilling nature of the chess narrative. It's also a terrific depiction of how terrifying it is to be "special," and what it means when that's not enough. You'll have a hard time going back to anything else after watching something this cerebral, heartbreaking, and electric. <i>The Queen's Gambit</i> is the best show of 2020, and it's not even close.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well, that wraps things up for my best shows of 2020 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! To see a complete inventory of all the TV I watched this year (with even more rankings), you can find it on <a href="https://docs.google.com/document/d/1oUluwDgj6iUAOc4w4RV_jQbk_aKrLQ0Y7JMagOpcTqk/edit?usp=sharing">this Google Doc</a>.<br /><br /><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-television-shows-of-2019.html">2019</a></div><div style="text-align: left;"><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-television-shows-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-television-shows-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-television-shows-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-television-shows-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-television-shows-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-television-shows-of-2013.html">2013</a></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com4tag:blogger.com,1999:blog-2395748504986705619.post-40612681589434235982020-12-30T00:01:00.621-05:002020-12-30T00:01:00.169-05:00My 15 Favorite Films of 2020<div style="text-align: center;"><a href="https://1.bp.blogspot.com/-kD5iyI7kJfE/X9g0OLu8uCI/AAAAAAAADYk/8qK4owJ3ejghtgjPl8zW75K_H401H2DCgCLcBGAsYHQ/s612/Best%2Bof%2Bfilm%2Bpicture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="612" height="337" src="https://1.bp.blogspot.com/-kD5iyI7kJfE/X9g0OLu8uCI/AAAAAAAADYk/8qK4owJ3ejghtgjPl8zW75K_H401H2DCgCLcBGAsYHQ/w400-h270/Best%2Bof%2Bfilm%2Bpicture.jpg" width="500" /></a><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Remember yesterday when I said that my music list was the one that was least impacted by the pandemic? Well, today's film list is easily the most colored by it. COVID-19 may very well have killed the theater industry as we know it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Usually in the intro to this list, I lament the movies that I hadn't been able to see because they were only released at the end of the year for critics and big cities in order to make awards contention. This time around we're all basically in the same boat, as there's a long list of movies we thought we'd be getting coming into 2020, but were delayed until next year or later. <i>Dune</i>, <i>Black Widow</i>, <i>A Quiet Place Part II</i>, <i>No Time to Die</i>, <i>F9</i>, <i>Candyman</i>, <i>Top Gun: Maverick</i>, <i>The French Dispatch</i>, <i>Last Night in Soho</i>, <i>West Side Story</i>, the list goes on -- so many big movies that, to varying degrees, had a shot at making this list were shelved.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">As a result, my new movie intake dropped dramatically. I saw a total of 48 new releases in 2020, compared to last year's 75. The closing of theaters and delay of tentpole films play a large part in that, but I also didn't feel much desire to watch many of the movies that were released directly to VOD during lockdown. I probably would have seen something like the poorly received <i>Antebellum</i> in theaters for $7 on a Sunday afternoon in a normal year, but it was much harder to justify watching it at home for $20 when there were so many other options to stream.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">So I was left with a difficult decision to make regarding this list: Do I buck tradition and not have 20 films on it for the first time? The films in my 16 through 20 spots are ones that I liked a fair amount, but they just didn't excite me the way movies that usually qualify for the end of the year list do. Couple that with having to also write up five more honorable mentions and it just felt disingenuous to attempt to work up the enthusiasm to declare merely solid films as being the best of 2020. Hence, we have 15 films on the official list this year. Still, despite the smaller playing field there were a handful of films at the top that were truly fantastic. 2020 wasn't a complete wash when it came to cinema, and this list is here to show some reasons why it wasn't.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> Things are a little different this year since most movies didn't get a theatrical release. So let's make it easy and consider any film that got their first non-festival release in 2020 -- whether that's theatrically, on VOD, or exclusively on a streaming service -- qualifies for this list.<br /><br /><a name='more'></a><br /><b>Honorable Mentions (20-16)</b><br />Somehow <b><i>Borat Subsequent Moviefilm</i></b> pulled it off -- it may not have matched the highs of its iconic predecessor, but it came closer than anybody could've imagined. <i><b>Swallow</b> </i>is not for the faint of heart, but if you can stomach it, the film is an eerie little genre exercise. As not just an entertaining documentary but a fascinating litmus test for how you feel about the future of politics in America, <b><i>Boys State</i></b> is one of the most surprisingly rich watches of the year. Josephine Decker's twitchy, sensual <i style="font-weight: bold;">Shirley</i> is a refreshing spin on the biopic, dispensing of all the tropes you've come to loathe from the format. Pixar does what they do best with <i style="font-weight: bold;">Onward</i><span>, </span>another one of their swift, imaginative, and moving family films.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>15. The Vast of Night (Directed by Andrew Patterson)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rxfVYaUT1YA/X9IuXhXY6TI/AAAAAAAADTA/MM2EvUS5u64il_b1A3Sk453719ebkELqQCLcBGAsYHQ/s640/The%2BVast%2Bof%2BNight.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="336" data-original-width="640" height="236" src="https://1.bp.blogspot.com/-rxfVYaUT1YA/X9IuXhXY6TI/AAAAAAAADTA/MM2EvUS5u64il_b1A3Sk453719ebkELqQCLcBGAsYHQ/w400-h210/The%2BVast%2Bof%2BNight.jpg" width="450" /></a></div></div><div style="text-align: left;">There's a reboot of <i>The Twilight Zone</i> on television right now and while it's not bad, it rarely captures the spirit of the original Rod Serling series. Luckily there's <i>The Vast of Night</i>, which frames itself as an episode of a fictional <i>Twilight Zone </i>imitation and perfectly replicates that vibe. The film's fidelity to its 1950s setting is astonishing given the budget, which only serves to further the quiet sci-fi paranoia it's trying to portray. And as a first film, it's impressive how director Andrew Patterson is willing to be patient and chatty. He's got genuine craft in the way he uses the camera to establish mood and capture the imagination too. <i>The Vast of Night</i> is a sparse, but incredibly charming late-night thriller tale.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>14. Sound of Metal (Directed by Darius Marder)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Lt_MQJ0q50k/X9Ivj_wwRwI/AAAAAAAADTQ/2HIHGCklDyw9IF46itemzGWiNhTwkt_4ACLcBGAsYHQ/s1800/Sound%2Bof%2BMetal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1011" data-original-width="1800" height="255" src="https://1.bp.blogspot.com/-Lt_MQJ0q50k/X9Ivj_wwRwI/AAAAAAAADTQ/2HIHGCklDyw9IF46itemzGWiNhTwkt_4ACLcBGAsYHQ/w400-h225/Sound%2Bof%2BMetal.jpg" width="450" /></a></div></div><div style="text-align: left;">So many films follow familiar beats that you expect every story to trace those same lines. That <i>Sound of Metal</i> frequently walks up to the precipice of conventionality and finds a softer, more interesting direction to take the story is one of the main aspects that makes it so impressive. Following a metal drummer and addict who loses his hearing is a premise that could lead to a heavy dose of overwrought melodrama, but what ends up onscreen is a sensitive portrayal of both acceptance and recovery. Led by spellbinding performances from Riz Ahmed and Olivia Cooke, along with many deaf actors, <i>Sound of Metal</i> is a raw and emotional character study that finds so much space for empathy.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>13. Emma. (Directed by Autumn de Wilde)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ls5xWsoZCXg/X9Iwd8OWAnI/AAAAAAAADTg/wUIE_JieojsGggkOsjxCfcdVkUui-VgBwCLcBGAsYHQ/s1200/Emma.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="300" src="https://1.bp.blogspot.com/-Ls5xWsoZCXg/X9Iwd8OWAnI/AAAAAAAADTg/wUIE_JieojsGggkOsjxCfcdVkUui-VgBwCLcBGAsYHQ/w400-h266/Emma.jpg" width="450" /></a></div></div><div style="text-align: left;">There are two main approaches to modernizing an old novel. You can go the <i>Romeo + Juliet</i> or <i>Clueless</i> route and just set it in contemporary times, or you can go the more subtle route and have it take place in the original setting, but with a more modern tone. We've gotten two great examples of the latter lately in the form of <i>Little Women</i> last year and now <i>Emma.</i>, Autumn de Wilde's take on the classic Jane Austen novel about a meddlesome matchmaker. This latest adaptation is totally fizzy fun, full of pastel colored sets and costumes, as well as framing and blocking choices that run counter to the composed nature we're used to seeing in these kinds of narratives. On top of it all, the actual story still follows the beloved plot of the novel, making this film the best of both worlds. <i>Emma.</i> strikes the perfect balance between radical and traditional adaptation work.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>12. Soul (Directed by Pete Docter)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-m29wjSAzNeA/X-kx8ZxrOKI/AAAAAAAADZo/_e9tXiO6GFAl2-766ugOr8as9uTwt5KjwCLcBGAsYHQ/s768/Soul.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="768" height="255" src="https://1.bp.blogspot.com/-m29wjSAzNeA/X-kx8ZxrOKI/AAAAAAAADZo/_e9tXiO6GFAl2-766ugOr8as9uTwt5KjwCLcBGAsYHQ/w400-h225/Soul.jpg" width="450" /></a></div><div style="text-align: left;">"One for me, one for them" is a famous adage in the film world, referring to the mentality some directors have where they balance their careers between more straightforward, commercial fare and weirder, personal material. Lately it appears that Pixar has mastered the art of "one for kids, one for adults." It's a technique they employed in 2015 with <i>The Good Dinosaur</i> (the one for kids) and <i>Inside Out </i>(the one for adults), and they were back at it again this year with <i>Onward</i> and <i>Soul</i>. That's not to say that <i>Soul</i> can't be enjoyed by children, it's just that an existential film about a jazz musician questioning his purpose in life doesn't immediately scream "kid's movie." Like jazz music itself, the film is unconventional in its rhythm, wandering offbeat as it is ruminates on dreams deferred and the fundamental things that make you who you are. Meanwhile, it features some of the studio's most trippy and astonishing visuals ever. <i>Soul</i> shows that Pixar is still pushing itself to move in interesting new creative directions, all while maintaining the strong emotional core they're known for.</div></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><br /></div><div style="text-align: center;"><b>11. Mank (Directed by David Fincher)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-05jo3oS0oRY/X9IyPNWIHaI/AAAAAAAADTs/cuTyc_QJHdIBDPBcFGny_GXdQ37aEF8JwCLcBGAsYHQ/s2048/Mank.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="255" src="https://1.bp.blogspot.com/-05jo3oS0oRY/X9IyPNWIHaI/AAAAAAAADTs/cuTyc_QJHdIBDPBcFGny_GXdQ37aEF8JwCLcBGAsYHQ/w400-h225/Mank.jpg" width="450" /></a></div></div><div style="text-align: left;">We can all agree that the last thing anyone needs is a movie that acts as a love letter to cinema itself. There was alot of worry that <i>Mank</i> would be another one of those, what with its focus on Herman J. Mankiewicz and his process of writing the <i>Citizen Kane</i> screenplay, along with David Fincher's painstaking efforts to recreate the look and sound of Classic Hollywood films. Thankfully while the film does trigger nostalgic pleasure centers by simply being about a beloved era, <i>Mank</i> is actually quite cynical about the industry, as well as the power of "movie magic." And its vision of the man at the center is less heroic and more melancholic, showing him eventually succeeding in finishing the script but doing so while suffering endless indignities and learning that having the best bon mots sometimes isn't enough. It may not be in the upper tier of Fincher's impressive oeuvre, but it's a precise technical flex that has a great deal of fun along the way.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>10. Never Rarely Sometimes Always (Directed by Eliza Hittman)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-z9ilesEPWSc/X9IzyHOR6MI/AAAAAAAADT4/gycBBZRKYhQFYtmNCS_6FWch76bdXvb6wCLcBGAsYHQ/s840/Never%2BRarely%2BSometimes%2BAlways.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="507" data-original-width="840" height="270" src="https://1.bp.blogspot.com/-z9ilesEPWSc/X9IzyHOR6MI/AAAAAAAADT4/gycBBZRKYhQFYtmNCS_6FWch76bdXvb6wCLcBGAsYHQ/w400-h241/Never%2BRarely%2BSometimes%2BAlways.jpg" width="450" /></a></div></div><div style="text-align: left;">Before you watch <i>Never Rarely Sometimes Always</i>, the title may seem a little unwieldy. But once you get to the towering scene that gives this film its name, it's hard to imagine it being called anything else. The latest offering from director Eliza Hittman brings her intimate eye to the story of a 17 year old girl who travels with her cousin to New York in order to get an abortion, after finding out she can't get one in her home state of Pennsylvania without parental consent. Filmed with an American neorealist sensibility, the film displays the mechanics of the journey in painstaking detail, as complications pile up. And it all culminates in the aforementioned centerpiece scene, which is so powerfully performed that it shifts the entire film from being a procedural to something more raw and graceful. It has to be seen to be believed.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>9. She Dies Tomorrow (Directed by Amy Seimetz)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-gCUwO7EWV7M/X9I06LZ_6pI/AAAAAAAADUE/zsZ9hlN7yt0PH_pgyOxO70QvTJozY4G3QCLcBGAsYHQ/s1920/She%2BDies%2BTomorrow.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="255" src="https://1.bp.blogspot.com/-gCUwO7EWV7M/X9I06LZ_6pI/AAAAAAAADUE/zsZ9hlN7yt0PH_pgyOxO70QvTJozY4G3QCLcBGAsYHQ/w400-h225/She%2BDies%2BTomorrow.jpg" width="450" /></a></div></div><div style="text-align: left;">Have you ever had the unshakeable feeling that something bad was about to happen? That paranoia is essentially what animates <i>She Dies Tomorrow</i>, a film about a woman who suddenly becomes convinced she's going to die soon and slowly spreads that anxiety to anyone she comes in contact with. Like the rest of filmmaker Amy Seimetz's work (her impressive debut <i>Sun Don't Shine</i>, the revelatory TV adaptation of <i>The Girlfriend Experience</i>) this movie is very sly about the information it does and doesn't convey. You never learn the origin of this fear or whether it's unfounded, which only adds to the dread of experiencing it. <i>She Dies Tomorrow</i> may not operate on conventional logic, but its elliptical, experimental approach is formally audacious and riveting to watch.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>8. Tenet (Directed by Christopher Nolan)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-azomqRWhhYA/X91tBwNqq3I/AAAAAAAADY8/TPTHrSu8ckMSLjQ4En8BaHF6xBDZAX-jQCLcBGAsYHQ/s640/Tenet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="255" src="https://1.bp.blogspot.com/-azomqRWhhYA/X91tBwNqq3I/AAAAAAAADY8/TPTHrSu8ckMSLjQ4En8BaHF6xBDZAX-jQCLcBGAsYHQ/w400-h225/Tenet.jpg" width="450" /></a></div><div style="text-align: left;">Christopher Nolan lives in a post-logic universe. If <i>Tenet</i> makes any sense, it's only to him. For the rest of us, it may seem like a nonsense film with flat characters and faux-smart pseudoscience. But none of that really matters, because for 150 minutes Nolan invites you into one of the most delirious setpiece generators of the century. When the film switches to IMAX format, Ludwig Goransson's mind-melting score starts blasting, and one of the many bonkers sequences starts to turn its gears, it's like blacking out and entering a state of nirvana. <i>Tenet </i>is pure craftsmanship that flows like a work of divine design, moving with an insanely invigorating rhythm and heft. With spectacle like this, you almost understand why Nolan wanted people to kill themselves going to the theater to see it.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;">
<br /></div><div style="text-align: center;"><b>7. First Cow (Directed by Kelly Reichardt)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-2Tq4GQ4Bl-4/X9I26hXHUMI/AAAAAAAADUQ/5hLL0AZgZTQk7bodPF7dkIEohaAOZ642QCLcBGAsYHQ/s1200/First%2BCow.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="255" src="https://1.bp.blogspot.com/-2Tq4GQ4Bl-4/X9I26hXHUMI/AAAAAAAADUQ/5hLL0AZgZTQk7bodPF7dkIEohaAOZ642QCLcBGAsYHQ/w400-h225/First%2BCow.jpg" width="450" /></a></div></div><div style="text-align: left;"><i>First Cow</i> plays like a lovely review of your favorite Kelly Reichardt-isms: a tender male friendship, a love letter to the Pacific Northwest, humanity contending with the beauty and brutality of nature, animals as an extension of the human soul, the opportunity of the American frontier, survival under economic strife. That greatest hits feeling initially makes it seem like a minor work from her, but it eventually gets its hooks in you and becomes as arresting as her other films. Reichardt sketches out the central male relationship in small shifts, preferring to connect these two enterprising grifters with gestures: the sweeping of another's floor without being asked to, encouraging someone's talent, basking in silence together, etc. It's a technique that runs through the entire film. Somehow the movie communicates the entire story of the frontier -- the greed, the theft, the ingenuity, the ambition, the conflict, the formation of alliances -- through two men and one gorgeous cow.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>6. On the Rocks (Directed by Sofia Coppola)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X4MJLpMJ1dA/X9I4G34PQ1I/AAAAAAAADUc/qwkKvORjTl4CVb0yokj8T8IWDWUtJnL4wCLcBGAsYHQ/s2048/On%2Bthe%2BRocks.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1106" data-original-width="2048" height="245" src="https://1.bp.blogspot.com/-X4MJLpMJ1dA/X9I4G34PQ1I/AAAAAAAADUc/qwkKvORjTl4CVb0yokj8T8IWDWUtJnL4wCLcBGAsYHQ/w400-h216/On%2Bthe%2BRocks.jpg" width="450" /></a></div></div><div style="text-align: left;">The protagonists of Sofia Coppola films have aged with her career, starting with the teen girls of <i>The Virgin Suicides</i> in 1999, so finally tapping into middle age anxieties with <i>On the Rocks</i> feels like a logical next step. It turns out her exploration of womanhood is just as deft as ever, no matter what stage of life she focuses on, as the film takes its well-worn premise and grounds it in a signature warmth and humanity. <i>On the Rocks</i> also wrings career-best performances from Rashida Jones and Bill Murray, whose father-daughter rapport is complex and lively, the kind that you need for a caper flick like this. The way it dispenses with traditional arcs and resolutions may make it seem like a minor work, but its low-key charm feels rare and magical.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>5. The Assistant (Directed by Kitty Green)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Lm74hC-pMmM/X9I44PZYIDI/AAAAAAAADUk/nZhAgXCnynMQoyPMQ59r7OiQfJ9Be4uVwCLcBGAsYHQ/s780/The%2BAssistant.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="780" height="270" src="https://1.bp.blogspot.com/-Lm74hC-pMmM/X9I44PZYIDI/AAAAAAAADUk/nZhAgXCnynMQoyPMQ59r7OiQfJ9Be4uVwCLcBGAsYHQ/w400-h240/The%2BAssistant.png" width="450" /></a></div></div><div style="text-align: left;"><i>The Assistant </i>-- a movie that follows the assistant of a powerful showbiz executive -- could've coasted on being about issues made prominent during the #MeToo movement, and it would've gotten praise just for that. Thankfully, it is a genuinely terrific film. Director Kitty Green shoots the entire thing in masterful static compositions that heighten the sense of anxiety, discomfort, and roiling tension that comes with the workaday indignities that the main character (played with an excellent subtlety by Julia Garner) faces. There are so many indulgences that the story could partake in but doesn't, and the austerity of its choices -- the fact that the tyrannical boss never actually appears onscreen, the abuses being mostly implied rather than shown -- are carefully considered thematic choices. <i>The Assistant</i> is the rare Sundance darling that actually lives up to its hype, a bold examination of power dynamics that plays out as a death by a thousand cuts.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>4. Da 5 Bloods (Directed by Spike Lee)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-aRHm57CPLqs/X9I5bp8z1CI/AAAAAAAADUs/SwppbM1ay68TAQXBbz3Cw1QRogwKuqq1gCLcBGAsYHQ/s2048/Da%2B5%2BBloods.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1107" data-original-width="2048" height="245" src="https://1.bp.blogspot.com/-aRHm57CPLqs/X9I5bp8z1CI/AAAAAAAADUs/SwppbM1ay68TAQXBbz3Cw1QRogwKuqq1gCLcBGAsYHQ/w400-h216/Da%2B5%2BBloods.jpg" width="450" /></a></div></div><div style="text-align: left;">The primary narrative around Vietnam vets are the stories about soldiers returning to a country that shunned them, but if you were black (and therefore disproportionately sent to fight and die there) America never really loved you in the first place. Your people built a nation against their will and still had never been afforded dignity. That's the idea that hangs over <i>Da 5 Bloods</i>, of White America setting the terms that we can never meet, told through the story of two oppressed classes fighting one another in a quest for capital. But it's also so much more than that, dense from the starting gun, as it weaves a tale of fathers and sons, oppressors and subjects, lover and friends thrown together in a stew. It's funny and exciting and haunting. It's also a little scattered and distended in that Spike Lee way, but it all leads to an emotional climax that's more devastating than anything I've seen in a while. In a year where most of the masters sat out, Lee showed up and showed everyone how it's done.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>3. The Lodge (Directed by Veronika Franz and Severin Fiala)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-jvzDI4a9KCE/X9I50cQTO_I/AAAAAAAADU0/YahYK3lAfJ8p6eIu2RrsKpQ_C6CvBjBWgCLcBGAsYHQ/s1200/The%2BLodge.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="255" src="https://1.bp.blogspot.com/-jvzDI4a9KCE/X9I50cQTO_I/AAAAAAAADU0/YahYK3lAfJ8p6eIu2RrsKpQ_C6CvBjBWgCLcBGAsYHQ/w400-h225/The%2BLodge.jpg" width="450" /></a></div></div><div style="text-align: left;">The slow-burn is what's en vogue in horror right now, but many films employ it so artlessly, and we have to suffer through too many droning slogs because of it. Anyone looking to make one well should use <i>The Lodge </i>as a reference point, as it mounts its dread perfectly. It's a glacial movie, but it's never boring thanks to the precise framing and deliberate movement, which always leaves you feeling on edge and attuned to every detail. Directors Veronika Franz and Severin Fiala like to turn the screws on their characters, and they do so with a particular cruelty here, ultimately in service of a meditation on punishment, both who deserves it and how much is enough. <i>The Lodge </i>is a rattling film, one that's entrancing from the very start and doesn't let up for its entire runtime.
</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>2. I'm Thinking of Ending Things (Directed by Charlie Kaufman)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-j6XBn1AVRlU/X9I6fQMqIsI/AAAAAAAADU8/vHYoKbIkM4YIGlAIlsgRPSwjrKpYOBhRwCLcBGAsYHQ/s1600/I%2527m%2BThinking%2Bof%2BEnding%2BThings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="255" src="https://1.bp.blogspot.com/-j6XBn1AVRlU/X9I6fQMqIsI/AAAAAAAADU8/vHYoKbIkM4YIGlAIlsgRPSwjrKpYOBhRwCLcBGAsYHQ/w400-h225/I%2527m%2BThinking%2Bof%2BEnding%2BThings.jpg" width="450" /></a></div></div><div style="text-align: left;">You can always count on Charlie Kaufman to deliver self-lacerating metafiction that causes the viewer to question reality, and even though <i>I'm Thinking of Ending Things</i> is based on somebody else's novel, its neuroses feel in line with what we've come to expect from him. And yet the film, one of the boldest things I saw all year, still feels like a surprise. On one level it's a searching essay on aging, regret, whether art is anything more than a collection of influences, the role of women in stories written by men, and a dozen other therapy topics Kaufman is sorting through. Parsing the elliptical way those ideas are presented can be a little tedious on first viewing, but luckily it's completely electrifying on a surface level. When the film is cycling between garrulous banter, cringe comedy, eerie horror, and absurd surrealism at such a rapid pace, it feels like truly <i>anything </i>can happen, and just about everything does. Even if it weren't a bum year, <i>I'm Thinking of Ending Things </i>would still dazzle. Only Charlie Kaufman could give us something this uniquely stirring.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b>1. Fourteen (Directed by Dan Sallitt)</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8OG34wHp6-I/X9I7RnzfoyI/AAAAAAAADVI/t2LcMsWMLdMuEwNgxEuRDgPNtixivifmQCLcBGAsYHQ/s1024/Fourteen.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="255" src="https://1.bp.blogspot.com/-8OG34wHp6-I/X9I7RnzfoyI/AAAAAAAADVI/t2LcMsWMLdMuEwNgxEuRDgPNtixivifmQCLcBGAsYHQ/w400-h225/Fourteen.jpg" width="450" /></a></div></div><div style="text-align: left;">Depicting the slow dissolution of a friendship is hard to do, but <i>Fourteen </i>pulls it off and does so beautifully. It tells the story of friends Mara and Jo over the course of a decade, as we see Jo declining from her mental illness through the eyes of Mara. There's a naturalism reminiscent of great filmmakers like Maurice Pialat and Eric Rohmer in the conversations and dynamic between the two, where you see Jo's magnetism and emotional neediness along with Mara's maternal mollification and increased weariness in subtle details, while weeks, months, and years pass in quiet cuts. The fact that it accumulates with so many tiny observations makes it all the more devastating.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well, that wraps things up for my best films of 2020 list. I love reading other lists, so feel free to share yours in the comments. Or if you have any thoughts on my list, then you can do that too. To see a complete ranked list of all the 2020 films I've seen this year, along with a list of my favorite performances and some other data, you can find them on <a href="https://docs.google.com/document/d/1_4LY5kmBoFcSIGfiir-KxK7Wk-tk5yBQWfr-9ZqFx4g/edit?usp=sharing">this Google Doc</a>.<br /><br /><br /><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2019/12/my-20-favorite-films-of-2019.html">2019</a></div><div style="text-align: left;"><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-films-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-films-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-films-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-films-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-films-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-films-of-2013.html">2013</a></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com5tag:blogger.com,1999:blog-2395748504986705619.post-91834583726357111412020-12-29T00:01:00.801-05:002020-12-29T00:01:00.148-05:00My 20 Favorite Albums of 2020<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-YorDhMKmecY/X9gpDXIESdI/AAAAAAAADYY/iFmA8jnb34EyiHrl3nwiX3ktOEGhJk6RgCLcBGAsYHQ/s2048/best%2Bof%2Bmusic%2B2013%2Bpicture.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="375" src="https://1.bp.blogspot.com/-YorDhMKmecY/X9gpDXIESdI/AAAAAAAADYY/iFmA8jnb34EyiHrl3nwiX3ktOEGhJk6RgCLcBGAsYHQ/w400-h300/best%2Bof%2Bmusic%2B2013%2Bpicture.jpg" width="500" /></a></div><div><br /></div><div><br /></div>You can't write an intro to an end of 2020 list without paying some lip service to what a tumultuous year it was, but out of the three lists you'll be seeing over the next three days, this music roundup feels like the one that was affected the least by the pandemic. Back at the beginning of everything, when most people assumed this whole COVID-19 thing would blow over in a few months (oh, how naive we were), there were some albums that got pushed back a few months, but once everyone realized we were going to be in it for the long haul, even those came out.<div><br /></div><div>If anything, we got <i>more</i> music due to the pandemic, not less. After all, Taylor Swift -- previously known for her rigid gaps between release dates -- put out <i>two </i>albums in the last five months. And it wasn't just her, all over the map we saw artists dropping more music or putting out projects sooner than we expected. While some used their newfound time due to canceled tours to supplement their income <a href="https://www.patreon.com/charlybliss">in creative ways</a>, others simply got to work, and we got to reap the rewards.</div><div><br /></div><div>Musicians weren't the only people with time on their hands either. Between working remotely minimizing the amount of interruptions I experience during the day, and the lack of TV programming leading to lots of time needing something to occupy my ears while watching NBA games, I had many more opportunities to listen to music in 2020. I tried to use that time to expand my horizons and listen to genres I've largely bypassed, like electronic music and emo, because I previously just didn't have the bandwidth to dive into a whole new world. Naturally, this led to me feeling more overwhelmed than ever by the sheer amount of music there is out there just waiting to be heard. Every year, there are albums I really want to get to that I don't end up spending time with before the deadline for this list, but it seemed to double this year. Between the 10 million Griselda albums, the weekly deluge of Detroit rappers dropping Youtube loosies, and all the emo bands Ian Cohen recommends on Twitter, there is so much good stuff that didn't get my full attention. So think of the list you're about to read as less definitive and more like a snapshot of my favorite things I managed to get to.<br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The rules:</b> Everything is the same as usual. The window of eligibility for this list is anything released between January 1, 2020 and now. This list can include albums, mixtapes, EPs, and anything in between. As always, I'm praying that nothing substantial comes out in the twilight hours of the year.<br /><br /><a name='more'></a><br /><b>Honorable Mentions (25-21)</b><br />While <i>Positions</i> may not be as immediate as previous albums from <b>Ariana Grande</b>, it eventually reveals itself to be a rewarding set of slinky, mid-tempo songs of contentment. <b>Rolling Blackouts Coastal Fever's</b> unique lineup makes for excellent guitar-pop on <i>Sideways to New Italy</i>. Mixing driving post-punk rhythms with mid-2000s UK rock, <b>Silverbacks</b> create a powerful blend on their debut album <i>Fad</i>. On <i>Magic Oneohtrix Point Never</i>, electronic music darling <b>Oneohtrix Point Never</b> wanted to recreate the feeling of listening to an FM station throughout the day, but its exciting combo of analog and synthetic textures sound more like picking up on extraterrestrial radio. <i>Fetch the Bolt Cutters</i> is appearing on every end of the year list for a reason -- <b>Fiona Apple's </b>return after eight years away is an excellent reintroduction to her nervy piano rhythms, jazzy vocal phrasings, and exposed-flesh lyricism.</div><div style="text-align: left;"></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-NPBe9IpPdEg/X9AvjhVlYEI/AAAAAAAADQs/-hyPO0tyZmYnmxfhJadntCt_rc9i38yawCLcBGAsYHQ/s600/Boldy%2BJames%2B-%2BThe%2BPrice%2Bof%2BTea%2Bin%2BChina.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-NPBe9IpPdEg/X9AvjhVlYEI/AAAAAAAADQs/-hyPO0tyZmYnmxfhJadntCt_rc9i38yawCLcBGAsYHQ/w200-h200/Boldy%2BJames%2B-%2BThe%2BPrice%2Bof%2BTea%2Bin%2BChina.jpg" width="150" /></a></div>20. Boldy James & The Alchemist - <i>The Price of Tea in China</i></b></div><div style="text-align: left;">Detroit rapper Boldy James has been around for over a decade, but 2020 really felt like a coronation for him. Between signing with Griselda Records, getting a spot on Big Sean's all-star Detroit posse cut "Friday Night Cypher," and his multiple acclaimed albums, everything was coming up Boldy this year. <i>The Price of Tea in China</i> is a record of cold precision, 39 minutes of densely rhymed lyrics packed with crime fiction specific details, all rapped in James' laconic drawl. That delivery could easily be mistaken for boredom, but his flat affect only adds to the immersive bleakness of the album. Meanwhile, The Alchemist's nocturnal production matches him perfectly, providing space for Boldy's raps to snake into. When the two of them are operating at the peak of their powers on a song like "Slow Roll," it's hard to think of anything more breathtaking.</div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=Ws_ITB4NbJI">Speed Demon Freestyle</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=j5dn7db7uNo">Slow Roll</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=latYpZ5yvrI">Giant Slide</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-UvZzCjbwv9c/X9AvvCB1naI/AAAAAAAADQw/j9hL6fQwRlAXhZBcqr2Z7wBm3VFAXlLewCLcBGAsYHQ/s315/Lil%2BUzi%2BVert%2B-%2BEternal%2BAtake.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="315" height="150" src="https://1.bp.blogspot.com/-UvZzCjbwv9c/X9AvvCB1naI/AAAAAAAADQw/j9hL6fQwRlAXhZBcqr2Z7wBm3VFAXlLewCLcBGAsYHQ/w200-h200/Lil%2BUzi%2BVert%2B-%2BEternal%2BAtake.jpg" width="150" /></a></div>19. Lil Uzi Vert - <i>Eternal Atake</i></b></div><div>The idea of <i>Eternal Atake </i>existed in some form since the middle of 2018, after Lil Uzi Vert tweeted that it was coming soon, but after label troubles plagued him and he threatened to retire, it felt like people would never get it. Though the wait was long, it was well worth it. <i>Eternal Atake</i> starts like Uzi's been itching to be unleashed. The first six tracks, which make up the Baby Pluto portion -- the album is broken up into three sections, one for each of his ill-defined alter egos -- are a hyperactive onslaught, from the motormouthed flow of "Silly Watch" to the demonic space gurgle of "POP." Each of them are brilliant, chaotic gems that would be a mess if they weren't so infectious. The other two-thirds may be less frenzied, but in exchange they're filled with gooey hooks that display Uzi's deft skill for turning anything into an earworm. <i>Eternal Atake</i> sounds like a hyperspeed trek to another planet that only speaks in candy-coated melodies, and Lil Uzi Vert is our translator. In his own words: "I live my life like a cartoon, reality is not the move." Yeah, sounds about right.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=7B9i2o2LJ-o">Homecoming</a></div><div>2. <a href="https://www.youtube.com/watch?v=OVJYrKkpb8I">You Better Move</a></div><div>3. <a href="https://www.youtube.com/watch?v=HsqXHg9vmjs">Silly Watch</a></div><div><br /></div><div><br /></div></div>
<div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_ze5hERrmrY/X9Av2bZM9nI/AAAAAAAADQ4/5S5DvCMR1i8kGb92hmH9tK0eZdhR9zHEwCLcBGAsYHQ/s600/Against%2BAll%2BLogic%2B-%2B2017-2019.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-_ze5hERrmrY/X9Av2bZM9nI/AAAAAAAADQ4/5S5DvCMR1i8kGb92hmH9tK0eZdhR9zHEwCLcBGAsYHQ/w200-h200/Against%2BAll%2BLogic%2B-%2B2017-2019.jpg" width="150" /></a></div>18. Against All Logic - <i>2017 - 2019</i></b></div><div style="text-align: left;">There's so much music out there that there are just whole genres I have resolved myself to never get too into, because there isn't enough time. But this year I decided to dip my toes into electronic music, and <i>2017 - 2019</i> was the highlight of my journey. Nicolas Jaar has had a very prolific 2020, releasing three full-length albums, and while his two mainline records were too ambient for me, his work under the Against All Logic moniker hits the sweet spot. Opening the album with "Fantasy," a great groove that samples Beyonce & Sean Paul's "Baby Boy," is just one of the many canny musical choices that populate the record. Jaar simply has the ability to make things <i>sound</i> good. The hi-hats are so crisp, the drums have that perfect snap, and you can feel some of the synth tones in your chest. From the title of the album, you'd think these are just odds and ends, and the tonal variation would lend credence to that theory. It can veer from the complex, smooth drum patterns of "With An Addict" to an abrasive banger like "If You Can't Do It Good, Do It Hard." But despite that, <i>2017 - 2019</i> is surprisingly cohesive, and it comes together for remarkably satisfying listening.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=G__XpCwG8FQ">If Loving You Is Wrong</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=BzPWoxlfFPE">If You Can't Do It Good, Do It Hard</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=-gagW4QNcC4">Fantasy</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xmz3w5sy_Yo/X9Av_WYJDHI/AAAAAAAADRA/gmqmwSbsZn4gm_HMbuVeTJ-6YkSu6-f2gCLcBGAsYHQ/s1000/The%2BBeths%2B-%2BJump%2BRope%2BGazers.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="150" src="https://1.bp.blogspot.com/-xmz3w5sy_Yo/X9Av_WYJDHI/AAAAAAAADRA/gmqmwSbsZn4gm_HMbuVeTJ-6YkSu6-f2gCLcBGAsYHQ/w200-h200/The%2BBeths%2B-%2BJump%2BRope%2BGazers.jpg" width="150" /></a></div>17. The Beths - <i>Jump Rope Gazers</i></b></div><div style="text-align: left;">New Zealand quartet The Beths burst on the scene a couple of years ago with <i>Future Me Hates Me</i>, a head-spinning collection of down-the-middle power-pop fastballs. They round themselves out on both ends for their sophomore album -- the buzzsaw guitars on opener "I'm Not Getting Excited" tease a harder direction, while they also go softer than they have before with dreamy, downtempo songs like the title track and "Do You Want Me Now." There's an incredible chemistry in the band's interplay that's only gotten stronger this time around, a locked-in nature that finds itself at the exact midpoint between technical precision and playful spontaneity. That results in 10 winsome songs with hooks so catchy they're almost annoying. The Beths are such a well-oiled machine that you'd think <i>Jump Rope Gazers </i>was their fifth album instead of their second.</div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=CkzI93Aqztk">Dying to Believe</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=lvYrJxNwW5I">I'm Not Getting Excited</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=ZhooP4Houyw">Acrid</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xIctN1T4NTo/X9AwHBKPfrI/AAAAAAAADRI/y2jzc4g2oawAsXvlzPCe9Br1IKK7YYWPgCLcBGAsYHQ/s600/Jessie%2BWare%2B-%2BWhat%25E2%2580%2599s%2BYour%2BPleasure.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-xIctN1T4NTo/X9AwHBKPfrI/AAAAAAAADRI/y2jzc4g2oawAsXvlzPCe9Br1IKK7YYWPgCLcBGAsYHQ/w200-h200/Jessie%2BWare%2B-%2BWhat%25E2%2580%2599s%2BYour%2BPleasure.jpg" width="150" /></a></div>16. Jessie Ware - <i>What's Your Pleasure?</i></b></div><div>Ever since Jessie Ware broke out with her debut album <i>Devotion</i> in 2012, she's strayed away from the more experimental sounds that made that record so exciting and drifted towards a more buttoned-down, adult contemporary style. That wasn't necessarily a bad thing, as her sultry voice sounds good over pretty much anything, and <i>Tough Love</i> and <i>Glasshouse</i> were still great albums. Nonetheless, her pivot to making pure dance music on <i>What's Your Pleasure?</i> was not just a delightful surprise, but a welcome change of pace. It's an album full of throbbing, pulsating, undulating songs, building off of impeccable grooves that are a mix of deep house, disco, soul, and funk. The production really stands out here, presenting an endless flurry of wild sounds that jump out at you -- those bugged out 80s synths on "Soul Control," that deep bassline on "Adore You," the sweeping strings on "Step Into My Life." Together, all of these elements make <i>What's Your Pleasure? </i>a party you never want to end.</div><div><b><i><br /></i></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=PLhfECsvzvQ">Step Into My Life</a></div><div>2. <a href="https://www.youtube.com/watch?v=QwhkvO_hCOM">Soul Control</a></div><div>3. <a href="https://www.youtube.com/watch?v=lpCJKgEnE84">Read My Lips</a></div><div><br /></div><div><br /></div><div><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5Fx0ClUhKDo/X9AwQMdwagI/AAAAAAAADRM/Klsz0Mi-YG0dx9cGjxd2t3h9I6SxLozKgCLcBGAsYHQ/s600/Samia%2B-%2BThe%2BBaby.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-5Fx0ClUhKDo/X9AwQMdwagI/AAAAAAAADRM/Klsz0Mi-YG0dx9cGjxd2t3h9I6SxLozKgCLcBGAsYHQ/w200-h200/Samia%2B-%2BThe%2BBaby.jpg" width="150" /></a></div>15. Samia - <i>The Baby</i></b></div><div>2020 had some solid debut albums, but it was largely the established acts that dominated the conversation for the year's best records. The one exception is <i>The Baby</i>, the first full-length from 23 year old singer-songwriter Samia. One of the first things that pops out when listening to the record is her sharp writing, which is equal parts clever, bruising, and evocative. The construction of this snippet in "Big Wheel" is a terrific example: "I got a lover in my bedroom / Or the smell of him at least / If he's somewhere getting smarter / On a free man's odyssey / God, I'm really gonna blow with all this empathetic shit / I understand the thing you did / And every reason you did it / But I'm so mad dude, and I wanna cry / I got bad news but I didn't fight." What's impressive is how well the music keeps pace, wrapping these lyrics in smart, sophisticated sounds and elegant melodies. This kind of plucky, polished instrumentation is the ideal indie pop that Spotify playlist makers are constantly trying to achieve, but here Samia actually reaches it, and it's all together in one package. Listening to <i>The Baby</i> feels like the birth of a musician who's going to be exciting for years to come.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=CvO84iLRdoI">Minnesota</a></div><div>2. <a href="https://www.youtube.com/watch?v=ZG2fW5tTrdo">Fit N Full</a></div><div>3. <a href="https://www.youtube.com/watch?v=YEkg4szYEP4">Stellate</a></div><div><br /></div><div><br /></div></div><div><b>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-dEiQzFzuuL4/X9AwuIBLBdI/AAAAAAAADRU/04dTYAFvFaUlr_S1kRLOAbH_l7ocTbIsACLcBGAsYHQ/s600/Illuminati%2BHotties%2B-%2BFree%2BIH.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-dEiQzFzuuL4/X9AwuIBLBdI/AAAAAAAADRU/04dTYAFvFaUlr_S1kRLOAbH_l7ocTbIsACLcBGAsYHQ/w200-h200/Illuminati%2BHotties%2B-%2BFree%2BIH.jpg" width="150" /></a></div>14. Illuminati Hotties - <i>Free I.H.: This is Not the One You've Been Waiting For</i></b></div><div>Back in July, a mysterious album from an unknown band called Occult Classic caused a stir when a Soundcloud link to it was tweeted out by bunch of different indie musicians. Who was this band, everyone wondered, and why did the album sound so good? It was quickly revealed to be the second album from Illuminati Hotties. The antic energy of its release carries through to the actual album, which starts with a song called "will i get canceled if i write a song called 'if you were a man you would so get canceled'," which in turn starts with the line "let's smash to a podcast." <i>Free I.H.</i> is big level up from the band's debut; many of the songs rip with attack dog guitars, showing a ferocity unseen before. And they never stay on one idea for too long, best exemplified by "melatonezone," whose verses have a flamenco tinged energy before giving way to a psych-pop chorus. Elsewhere, the zany "content//bedtime" throws everything but the kitchen sink at you and the chaos winds up being the most accurate representation of the stress of being terminally online. From front to back <i>Free I.H. </i>is a total blast -- it may not be the album we've been waiting for, but it sure is fantastic anyway.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=WM5vjfIDlII">content//bedtime</a></div><div>2. <a href="https://www.youtube.com/watch?v=q9BAoiAWRYA">b yr own b</a></div><div>3. <a href="https://www.youtube.com/watch?v=kCBVvuuY4Jw">freequent letdown</a></div></div><div><br /></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HvRBqfEyIK4/X9AxYCCeFqI/AAAAAAAADRg/gwu0vWmKzeQlRFDBVRcRIvqu0bJzBvDiwCLcBGAsYHQ/s600/Charli%2BXCX%2B-%2BHow%2BI%2527m%2BFeeling%2BNow.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-HvRBqfEyIK4/X9AxYCCeFqI/AAAAAAAADRg/gwu0vWmKzeQlRFDBVRcRIvqu0bJzBvDiwCLcBGAsYHQ/w200-h200/Charli%2BXCX%2B-%2BHow%2BI%2527m%2BFeeling%2BNow.jpg" width="150" /></a></div>13. Charli XCX - <i>how i'm feeling now</i></b></div><div>Almost every album released towards the end of the year was a "pandemic album," but before we knew how long isolation would last, Charli XCX gave us one of the first albums entirely written and recorded during the lockdown. <i>how i'm feeling now</i> was quite a bold entry into this new phase of our lives, immediately blasting us with the hyperpop sonic assault of "pink diamond." Her fourth official album finds her still working with the PC Music collective, but she also opens the doors of her production cadre to new collaborators, most notably 100 gecs' Dylan Brady. His metallic snares and experimental sensibilities have always felt indebted to PC Music, so he fits right in, contributing two of the best songs in "anthems" and "claws." And Charli is still able to drop achingly sentimental songs like "forever" and "7 years" amid the synthetic clatter. This is a restless, anxious album, so even some of the love songs are about the way contentment can curdle into worry if you let your mind stew enough. In that way, <i>how i'm feeling now</i> felt like the perfect album at the perfect time: a maximalist dispatch that leaves us no room for other thoughts.</div><div><b><i><br /></i></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=E6oq5HCzG4c">anthems</a></div><div>2. <a href="https://www.youtube.com/watch?v=WAo8X-rIt8k">claws</a></div><div>3. <a href="https://www.youtube.com/watch?v=TbJE-KVZvTA">forever</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-oNQid5RPdMI/X9AxgV1Yz-I/AAAAAAAADRk/62p5Phw2XQkJtktgQ-FgldxHOFPaCr0QwCLcBGAsYHQ/s600/Laura%2BMarling%2B-%2BSong%2BFor%2BOur%2BDaughter.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-oNQid5RPdMI/X9AxgV1Yz-I/AAAAAAAADRk/62p5Phw2XQkJtktgQ-FgldxHOFPaCr0QwCLcBGAsYHQ/w200-h200/Laura%2BMarling%2B-%2BSong%2BFor%2BOur%2BDaughter.jpg" width="150" /></a></div>12. Laura Marling - <i>Song For Our Daughter</i></b></div><div>With seven albums released in a span of 12 years, Laura Marling has already had quite an impressive career even though she's only 30. You'd think with that kind of output she would be in autopilot mode by now. But tell that to "Held Down," the second track on <i>Song For Our Daughter</i> and easily in the running for one of the best songs she's ever written. It's a gorgeous, ambling track with layered background vocals that cascade with a breathtaking beauty. Then there's the title track in the middle of the record, which serves as the emotional highpoint of the album. "Lately I've been thinking about our daughter growing old / All of the bullshit that she might be told," she sings with a simple ruefulness. There's something captivating and moving in every corner of the record, and with the tangled tunings and artful phrasings, her music can often feel like an artifact unearthed from a previous era. At this point it shouldn't be surprising when Laura Marling pops out another great album, but somehow <i>Song For Our Daughter</i> is still disarmingly beautiful.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=dLL1KAc18hs">Held Down</a></div><div>2. <a href="https://www.youtube.com/watch?v=ffgWB1dqAjI">Song For Our Daughter</a></div><div>3. <a href="https://www.youtube.com/watch?v=l6rc8Tm6QFY">Hope We Meet Again</a></div><div><br /></div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-psj9Jicovbg/X9Axn7BgzPI/AAAAAAAADRs/NzIj87F5v3s49muqN-EifFz1fr0YgepSACLcBGAsYHQ/s600/Destroyer%2B-%2BHave%2BWe%2BMet.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-psj9Jicovbg/X9Axn7BgzPI/AAAAAAAADRs/NzIj87F5v3s49muqN-EifFz1fr0YgepSACLcBGAsYHQ/w200-h200/Destroyer%2B-%2BHave%2BWe%2BMet.jpg" width="150" /></a></div>11. Destroyer - <i>Have We Met</i></b></div><div style="text-align: left;">Dan Bejar exists in his own musical universe, and every few years he gives us an invitation into that world in the form of a beguiling and baffling new Destroyer album. <i>Have We Met</i> finds Bejar as mysterious and experimental as ever, offering up songs that play like late night music for a barely populated lounge. Most of the album dons a cloak of darkness, with the synths serving as a diffuse gossamer of atmosphere over Bejar's slithery vocals. Occasionally, an acid-drenched guitar squeal or a deep bass pop will flash through haze. Even the more upbeat, 80s leaning songs like "Crimson Tide" and "It Just Doesn't Happen" have a seedy, back alley saunter to them. On top of that, Dan Bejar continues to be one of the best lyricists to ever do it, to the point where this blurb was initially just going to be hilarious, profound soundbites from the album. Here's just one: "I find the silence unbearable....what does that say about the silence?" What a joy to have another collection of poetic piss takes from Destroyer.</div><div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=VmApPGE6Zio">It Just Doesn't Happen</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=9mFTgJQtCPk">Crimson Tide</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=6heM2MvAVBs">The Man in Black's Blues</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-XsazcHf86_8/X9Ax1-sxgqI/AAAAAAAADR0/LWvlNF4hGJEZpUjAmDdy9J67gqD3OGZvwCLcBGAsYHQ/s320/Soccer%2BMommy%2B-%2BColor%2BTheory.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="150" src="https://1.bp.blogspot.com/-XsazcHf86_8/X9Ax1-sxgqI/AAAAAAAADR0/LWvlNF4hGJEZpUjAmDdy9J67gqD3OGZvwCLcBGAsYHQ/w200-h200/Soccer%2BMommy%2B-%2BColor%2BTheory.jpg" width="150" /></a></div>10. Soccer Mommy -<i> color theory</i></b></div><div style="text-align: left;">Soccer Mommy's first official album <i>Clean</i>, <a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-albums-of-2018.html">the best record of 2018</a>, was as good as debuts get, so she wisely took the "if it ain't broke" approach to her follow-up. She already perfected a replication of the late 90s pop-rock sound on <i>Clean</i>, she's just doing it bigger, bolder and, well, cleaner on <i>color theory</i>, a wonderful HD upgrade on everything that makes Soccer Mommy's music great. Her strength lies in her ability to lay complicated and painful emotions bare, and she does so beautifully on the opening couple of tracks. "Bloodstream" takes the long view of her struggles with depression since childhood, while "Circle the Drain" zooms in on the minutiae of feeling depression on a moment-to-moment basis, and they make up two of the best songs about living with mental illness that I've heard. The album could have been a joyless slog because of this, but Sophie Allison has a habit of writing these simple, beautiful vocal melodies that drill into your brain and make you want to keep returning. <i>Color Theory</i> doesn't exactly reinvent the wheel, but it continues the momentum for an artist who already came out of the gate fully formed.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=DTc1w32Vbeo">Circle the Drain</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=K8-J8V8cwTU">Bloodstream</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=h-W4P8TYcMc">Royal Screw Up</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-25SPWDZeyuo/X9AyBRjfSyI/AAAAAAAADR8/0T8mv3LGCSsUI1mDlreYdUGOdSSvnMZTQCLcBGAsYHQ/s807/Sufjan%2BStevens%2B-%2BThe%2BAscension.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="807" data-original-width="807" height="150" src="https://1.bp.blogspot.com/-25SPWDZeyuo/X9AyBRjfSyI/AAAAAAAADR8/0T8mv3LGCSsUI1mDlreYdUGOdSSvnMZTQCLcBGAsYHQ/w200-h200/Sufjan%2BStevens%2B-%2BThe%2BAscension.jpg" width="150" /></a></div>9. Sufjan Stevens - <i>The Ascension</i></b></div><div>The last time Sufjan Stevens made an electronic album was 2010's divisive <i>Age of Adz</i>, which largely dealt with crises of faith and feeling spiritually unwell, made as a response to the intense physical and mental ailments that were plaguing him at the time. His return to electronic sounds came 10 years later with this year's <i>The Ascension</i>, and it's only natural that it would be circling around those same ideas. There's a quiet desperation that hangs over the entire album. It's full of pleas and mantras like "tell me you love me," "I want to die happy, " "make me an offer I cannot refuse," and "run away with me." Another song is an ode to the drug Ativan. Needless to say, this is a heavy listen, and at 15 songs and 80 minutes, it's an overwhelming endurance experience. But a few spins reveal this icy, crystalline collection of songs to be an overwhelming emotional experience as well. The doe-eyed folk and Broadway-meets-post rock bombast may be the modes that diehards love Sufjan operating in, but his electronic side allows him to mine terrain that's just as rewarding.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=lTBevHX9550">Tell Me You Love Me</a></div><div>2. <a href="https://www.youtube.com/watch?v=8Y4sP0Y4f8s">Ursa Major</a></div><div>3. <a href="https://www.youtube.com/watch?v=NNTeZrts_0E">Landslide</a></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AqqD01OIPKs/X-k50KHeotI/AAAAAAAADZ0/_s7bVNtxqeAxu51gVKQMpSozQf6dBu5XACLcBGAsYHQ/s600/Fleet%2BFoxes.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="150" src="https://1.bp.blogspot.com/-AqqD01OIPKs/X-k50KHeotI/AAAAAAAADZ0/_s7bVNtxqeAxu51gVKQMpSozQf6dBu5XACLcBGAsYHQ/w200-h200/Fleet%2BFoxes.jpg" width="150" /></a></div><b>8. Fleet Foxes - <i>Shore</i></b></div><div style="text-align: left;">I'm not ashamed to admit that sometimes even I get things wrong. It could have been bad timing or something wrong with my brain, but when Fleet Foxes put out <i>Shore</i> at the end of September, I struggled with it for my first few listens and put it aside in favor of other albums I was immediately vibing with. At the last minute, I had a <i>major </i>turnaround on this record and completely fell in love with it, forcing me to rework this list. Maybe it was the simplification of the band's sound after the thick, labyrinthine arrangements of <i>Crack-Up</i> that caught me off guard, but the straightforward beauty of <i>Shore</i> bowls me over now. In untangling the sound of the previous record they trade density for expansiveness, adding new tools to their baroque folk repertoire. With a more prominent use of horns and brighter, poppier vocals from Robin Pecknold, some of the songs take on a Philadelphia soul-esque sweep. And the clear production allows for the ornate instrumentation to ring out so far and loud it's goosebump inducing. I should not have doubted them. Fleet Foxes have yet to put out anything that isn't brilliant.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1.<a href="https://www.youtube.com/watch?v=fTS2mos6kng"> A Long Way Past the Past</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=LQ3nAhJyE44">Sunblind</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=ZwMvK8jUYDc">Going-to-the-Sun Road</a><br /><div><br /></div><div><br /></div></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_QF0C70BkCw/X9AyKAtRseI/AAAAAAAADSE/OaNBEhi41xUh7w7n9gSsgQxHGHqIaB9aQCLcBGAsYHQ/s1202/Run%2Bthe%2BJewels%2B-%2BRTJ4.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1202" data-original-width="1200" height="150" src="https://1.bp.blogspot.com/-_QF0C70BkCw/X9AyKAtRseI/AAAAAAAADSE/OaNBEhi41xUh7w7n9gSsgQxHGHqIaB9aQCLcBGAsYHQ/w199-h200/Run%2Bthe%2BJewels%2B-%2BRTJ4.png" width="150" /></a></div>7. Run the Jewels - <i>RTJ4</i></b></div><div style="text-align: left;">Nobody who was around for the early days of the Killer Mike and El-P partnership could have ever imagined that it would be this long and fruitful, but here we are. Part of their success comes from their ability to meet the moment. Released shortly after the murder of George Floyd in the middle of the year, <i>RTJ4</i>, like all the duo's albums, felt like exactly what we needed at the time. How could you hear the teeth-rattling blat of "Yankee and the Brave" and not imagine it soundtracking the apocalypse? Does the jittery "Goonies vs. E.T." not match the constant anxiety of everyday existence? And does anybody else feel oddly comforted by the sinister hum of "Never Look Back"? But the staying power of the album comes from its timelessness. There's no expiration date on the box cutter sharp, tongue-twisting rhymes Killer Mike and El-P trade over the latter's galaxy-expanding production. At this point Run the Jewels aren't just a rap group, they're also a brand. And the brand is strong, people.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=1C4zAbTA-QM">ooh la la</a> (feat. Greg Nice & DJ Premier)</div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=cKPPFT7ES1k">out of sight</a> (feat. 2 Chainz)</div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=44RU5qn0swc">holy calamafuck</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-O2F86i70oXQ/X9AyTwfnD3I/AAAAAAAADSM/sVm_YR3Ld7APGd0ro6ykZXPIOZ2THSbDACLcBGAsYHQ/s1200/Ratboys%2B-%2BPrinter%2527s%2BDevil.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://1.bp.blogspot.com/-O2F86i70oXQ/X9AyTwfnD3I/AAAAAAAADSM/sVm_YR3Ld7APGd0ro6ykZXPIOZ2THSbDACLcBGAsYHQ/w200-h200/Ratboys%2B-%2BPrinter%2527s%2BDevil.jpg" width="150" /></a></div>6. Ratboys - <i>Printer's Devil</i></b></div><div style="text-align: left;">After the release of their second album <i>GN</i>, Ratboys toured with alot of rock bands like PUP and Pet Symmetry, which necessitated a beefing up of their live sound to mesh with the acts they opened for. So when it came time to record their third album, this year's excellent <i>Printer's Devil</i>, the harder and louder approach came naturally to them. Songs like album opener "Alien With a Sleep Mask On" and its follow up "Look To" snap and crunch accordingly with fuzzy guitars and drums high in the mix. There are elements in the band's toolkit that set them apart form the rest of the bands in their class though, most notably lead singer Julia Steiner's comforting coo, which wraps around the melody of song-of-the-year contender "Anj" at the midpoint of the album like a heavy blanket. That voice pairs well with the album's lyrics, which elevate past the genre's now-rote musings on mental health to tell off-kilter stories that bristle with a warmth and aching sense of nostalgia. The band also allows for some great sonic curveballs, as they do on "Victorian Slumhouse," which swaggers along with an almost honky tonk stomp. <i>Printer's Devil</i> packs so much surprise in such a small album. It came out way back in February and has only become more rewarding with each passing month.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=3nrI-c9eVNs">Anj</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=7FoztyXbE_M">Victorian Slumhouse</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=uHxuV30egQU">My Hands Grow</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Peu_6kEpe54/X9Ayk-94PQI/AAAAAAAADSY/N6IUTCfchr8dzKyrRG3VP6J4o1SCh-a8gCLcBGAsYHQ/s1501/The%2BStrokes%2B-%2BThe%2BNew%2BAbnormal.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1501" data-original-width="1501" height="150" src="https://1.bp.blogspot.com/-Peu_6kEpe54/X9Ayk-94PQI/AAAAAAAADSY/N6IUTCfchr8dzKyrRG3VP6J4o1SCh-a8gCLcBGAsYHQ/w200-h200/The%2BStrokes%2B-%2BThe%2BNew%2BAbnormal.jpeg" width="150" /></a></div>5. The Strokes - <i>The New Abnormal</i></b></div><div>As a band, you never want to get to the "their best since..." phase of your career. Usually that statement gets reserved for acts whose glory days are behind them and have put out a few duds, then they release something that isn't quite as good as their golden age, but is enough of a reminder of those heights that fans say "This is their best album since...." It's a little unfair that The Strokes have gotten saddled with this reputation, because all of their albums since 2003's <i>Room on Fire</i> have been pretty good, but <i>The New Abnormal</i> really does feel like a step up from the band's past few offerings. They move from strength to strength all over the album, with the snaking twin guitar lines of "The Adults Are Talking," the moody Julian Casablancas crooning of "Not the Same Anymore," and some playful nods to rock songs of the past on "Bad Decisions" and "Eternal Summer." When so many of the tracks sail past the five minute mark, some might call it bloated, but it's hard to be mad at the boys for being indulgent when they're operating at such a high level. So yes, this is their best since <i>Room on Fire</i>, but that's more about how good <i>The New Abnormal</i> is than it is about The Strokes falling off.</div><div><br /></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=2KSpDNlsVF4">Why Are Sundays So Depressing?</a></div><div>2. <a href="https://www.youtube.com/watch?v=EzrlnUiOMhc">Not the Same Anymore</a></div><div>3. <a href="https://www.youtube.com/watch?v=o4qsjmLxhow">The Adults Are Talking</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-t4JM7-BDNh8/X9AyvP5u4OI/AAAAAAAADSc/h0QIRZ0XGUQMINCK3Th1pxA51KY6nEHuACLcBGAsYHQ/s1200/Waxahatchee%2B-%2BSaint%2BCloud.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="150" src="https://1.bp.blogspot.com/-t4JM7-BDNh8/X9AyvP5u4OI/AAAAAAAADSc/h0QIRZ0XGUQMINCK3Th1pxA51KY6nEHuACLcBGAsYHQ/w200-h200/Waxahatchee%2B-%2BSaint%2BCloud.jpg" width="150" /></a></div>4. Waxahatchee - <i>Saint Cloud</i></b></div><div>Katie Crutchfield has always been very open about <a href="https://www.stereogum.com/2002586/car-wheels-on-a-gravel-road-turns-20/reviews/the-anniversary/">her love of Lucinda Williams</a>, but aside from a few songs on her own albums and her unmistakable Alabama twang, she's never fully embraced her country-loving spirit. This year she finally greeted it with open arms on her fifth album, complete with a new backing band who load the arrangements with bright, rootsy guitars that really open up her formidable melodic instincts. <i>Saint Cloud</i> is the product of many life changes from Crutchfield, including getting sober and settling into domesticity, and the songs are laced with a newfound wisdom that comes with getting out of the storm of your 20s. Even the tracks on here that tackle darker subjects have a bit of a lightness to them. That's not to say the album is lacking the tension that's always animated Waxahatchee songs, it's just that it's about transitioning to the idea of being happier while still acknowledging that the work to be done on yourself is never over. To sum it up in her own words: "I'm wiser and slow and attuned." And she turns that feeling into gorgeous, emotive songs on <i>Saint Cloud</i>.</div><div><b><i><br /></i></b></div><div>Highlight songs</div><div>1. <a href="https://www.youtube.com/watch?v=TLbT66GhVEM">The Eye</a></div><div>2. <a href="https://www.youtube.com/watch?v=0DnBGuwi4V8">War</a></div><div>3. <a href="https://www.youtube.com/watch?v=OaA7I7B1pOk">Lilacs</a></div><div><b><i><br /></i></b></div><div><br /></div></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qTUJVa5G1EA/X9Ay4S9sZLI/AAAAAAAADSg/u4dNAXhQTH8uecQGy3tZ7i7q3312r1PbgCLcBGAsYHQ/s1000/Sada%2BBaby%2B-%2BSkuba%2BSada%2B2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="150" src="https://1.bp.blogspot.com/-qTUJVa5G1EA/X9Ay4S9sZLI/AAAAAAAADSg/u4dNAXhQTH8uecQGy3tZ7i7q3312r1PbgCLcBGAsYHQ/w200-h200/Sada%2BBaby%2B-%2BSkuba%2BSada%2B2.jpg" width="150" /></a></div>3. Sada Baby's entire 2020 output</b></div><div style="text-align: left;">Detroit knucklehead sensation Sada Baby has been on a hell of a run. Between January and July, he released three mixtapes (<i>Brolik, Skuba Sada 2, Bartier Bounty 2</i><u>)</u> that had a combined total of 45 songs, not to mention the dozens of loosies and feature verses he's racked up this year. And this is all after he released two mixtapes totaling 41 songs <i>last </i>year. So yes, he's been very prolific, even considering the fact that he exists in a genre where everyone these days is productive. With that kind of output, it would be easy to get sick of an artist, but thankfully Sada Baby's music is so funny, spasmodic, and relistenable that he hasn't worn out his welcome yet. Largely unconcerned with the goopy mood music that's overtaken rap music, he just bears down and offers a relentless stream of rapping, tossing a dizzying amount of entertaining bars at the listener. As long as his heart doesn't give out, let's hope he keeps this pace up for as long as possible.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=hzVRy6gufBE">Funky Kong</a> (<i>Bartier Bounty 2</i>)</div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=guYDhRZ2e1A">The Big Red Whoop</a> (<i>Brolik</i>)</div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=bSrcTApvDV0">Off White Whoop</a> (<i>Skuba Sada 2</i>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LpqFvQ4v5eg/X9AzA7s_9AI/AAAAAAAADSo/sffAYv0_haIC3mUYuz2nXXwsIps3Cs64wCLcBGAsYHQ/s640/Phoebe%2BBridgers%2B-%2BPunisher.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="150" src="https://1.bp.blogspot.com/-LpqFvQ4v5eg/X9AzA7s_9AI/AAAAAAAADSo/sffAYv0_haIC3mUYuz2nXXwsIps3Cs64wCLcBGAsYHQ/w200-h200/Phoebe%2BBridgers%2B-%2BPunisher.jpg" width="150" /></a></div>2. Phoebe Bridgers - <i>Punisher</i></b></div><div style="text-align: left;">After a promising but repetitive debut in 2017, and then impressive back-to-back collaborative records in <a href="https://www.metacritic.com/music/boygenius-ep/boygenius">2018</a> and <a href="https://www.metacritic.com/music/better-oblivion-community-center/better-oblivion-community-center">2019</a>, Phoebe Bridgers showed enough potential to back up her status as indie rock's new favorite artist. 2020 was a total level up for her though, completely making good on that potential and more. <i>Punisher</i> finds her in league with some of the best indie artists of the last 20 years. She channels Elliott Smith on "Punisher" (ironically, a song that's sort of about him). And she's the only Sufjan Stevens-inspired artist to try her hand at almost all of his styles, from the banjo plucking of <i>Seven Swans</i> on "Graceland Too," to the orchestral bombast of <i>Illinois</i> on "I Know the End," to the haunting starkness of <i>Carrie & Lowell</i> on "Halloween." But she blends the spot-the-influence moments into something wholly new and of its own, specifically because of the spaciousness of her arrangements and the spark of her lyrics. Every song is overflowing with witty one-liners and conversational details that feel so invigorating to take in. She'll follow a bleak musing with a smirking half-joke, and sometimes fit those smirking half-jokes <i>within</i> the bleak musings. That kind of deft emotional balance is one of the many things that makes <i>Punisher</i> such a killer album.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=bVZTMyQ3SsU">Halloween</a></div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=60PwTgPY9vg">Savior Complex</a></div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=Tw0zYd0eIlk">Kyoto</a></div><div style="text-align: left;"><br /></div><div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GPjqNHb2ABs/X9AzJoL8HTI/AAAAAAAADSw/WbtsyPiuQyYdBCFHyNecuFXiM1NQCvq8QCLcBGAsYHQ/s300/Taylor%2BSwift%2B-%2BFolklore.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="150" src="https://1.bp.blogspot.com/-GPjqNHb2ABs/X9AzJoL8HTI/AAAAAAAADSw/WbtsyPiuQyYdBCFHyNecuFXiM1NQCvq8QCLcBGAsYHQ/w200-h200/Taylor%2BSwift%2B-%2BFolklore.png" width="150" /></a></div>1. Taylor Swift - <i>folklore</i> / <i>evermore</i></b></div><div style="text-align: left;">2020 was an upside down year in general, so in retrospect it seems only natural that Taylor Swift -- queen of the fall release -- would shake things up and surprise drop an album in the summer. Ironically, <i>folklore</i> might be her must autumnal release yet. On her eighth record, the 31 year-old songwriter trades in her signature sticky pop songs for stately and stripped down tunes, most of which were produced by The National's Aaron Dessner. But it's less of the "Taylor goes indie" moment the announcement and album art made it out to be, and more like another example of the chameleon traits she's always possessed, constantly bending sounds around her strengths. She's still spinning out canny, mathematical song structures and fragrant lyrics, this time doing so with wise musings on time, lives unlived, and the stories that make up your own personal history. Now she's just doing it over some of the best sounding instrumentals she's had in her career. <i>folklore </i>shows that there really is no new or old Taylor Swift, just one musician on a thrilling creative journey.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;">...And then she went ahead and did it again five months later, releasing <i>evermore </i>just a few weeks ago. This entry was initially written before Taylor Swift dropped a second 2020 album on us, but it's such a superb record that it deserves a placement on the list as well. It's only right for <i>folklore</i> and <i>evermore</i> to share a spot on the list because they truly do play like companions to one another, not just in sound but the way the themes feel in conversation with each other and how individual songs on each act as mirrors of one another. Working almost exclusively with Dessner on this album, the songs on <i>evermore</i> dive deeper into the delicately adorned arrangements and short story format of its predecessor. The results may not match the euphoric highpoints of <i>folklore</i> but it might be the more consistent, emotionally potent record. Each of them would individually be the number one album of the year on their own, but together they prove that Taylor Swift was operating on a completely different level than every other musician in 2020.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Highlight songs</div><div style="text-align: left;">1. <a href="https://www.youtube.com/watch?v=OuFnpmGwg5k">Invisible String</a> (<i>folklore</i>)</div><div style="text-align: left;">2. <a href="https://www.youtube.com/watch?v=nn_0zPAfyo8">August</a> (<i>folklore</i>)</div><div style="text-align: left;">3. <a href="https://www.youtube.com/watch?v=HpxX4ZE4KWE">Peace</a> (<i>folklore</i>)</div></div><div style="text-align: left;">4. <a href="https://www.youtube.com/watch?v=zI4DS5GmQWE">Dorothea</a> (<i>evermore</i>)</div><div style="text-align: left;">5. <a href="https://www.youtube.com/watch?v=tP4TTgt4nb0">Happiness</a> (<i>evermore</i>)</div><div style="text-align: left;">6. <a href="https://www.youtube.com/watch?v=WuvhOD-mP8M">'Tis the Damn Season</a> (<i>evermore</i>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well, that wraps things up for my best albums of 2020 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! Most of the highlight songs contain Youtube links if you want to listen to them, but I've also created a Spotify playlist if that's your preferred method. You can find it below. And if you want a complete ranking of all the albums that were in consideration for this list, along with some other data you might find interesting, you can find them on <a href="https://docs.google.com/document/d/1c-ItOUTDojlQh-YaerIDOUqyQdveyDjMVhchqeV7d8A/edit?usp=sharing">this Google Doc</a>.</div><div style="text-align: left;"><br /></div><iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/0hSb4VgBiEktPCd4wpJEXH" width="300"></iframe></div><div><br />
<div style="text-align: left;"><b>Previous lists</b><br /><a href="https://yeahthatantonio.blogspot.com/2020/12/my-20-favorite-albums-of-2020.html">2019</a></div><div style="text-align: left;"><a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-albums-of-2018.html">2018</a><br /><a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-albums-of-2017.html">2017</a><br /><a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-albums-of-2016.html">2016</a><br /><a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-albums-of-2015.html">2015</a><br /><a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-albums-of-2014.html">2014</a><br /><a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-albums-of-2013.html">2013</a></div></div>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com4tag:blogger.com,1999:blog-2395748504986705619.post-6402123657396235882020-12-25T00:01:01.410-05:002020-12-26T22:41:30.333-05:0075 Songs I Liked in 2020<div style="text-align: center;"> <a href="https://1.bp.blogspot.com/-esRIH5nIE9g/X-ACf2XswbI/AAAAAAAADZI/jg-yrHK7TnscDn--hMuenCDfh0TSe0RgwCLcBGAsYHQ/s700/Songs%2Blist%2B2018.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="700" height="350" src="https://1.bp.blogspot.com/-esRIH5nIE9g/X-ACf2XswbI/AAAAAAAADZI/jg-yrHK7TnscDn--hMuenCDfh0TSe0RgwCLcBGAsYHQ/w400-h280/Songs%2Blist%2B2018.jpg" width="500" /></a><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">On December 29th, I'll be starting off my end of the year lists with my 20 favorite albums of 2020. But there's so much great music out there that my album post will only cover a very tiny portion of the stuff that's worth listening to. So this list is an additional rundown, one that highlights songs from albums that won't be appearing on the top 20 in a few days. I'm including songs from my five honorable mention albums, so if you see something on here from an album you love, who knows, maybe that album is ranked somewhere between 21 and 25 for me! Because I listened to and liked more songs this year, I've expanded this list to be 75 tracks instead of the usual 50. Even this doesn't fully cover the quality that the year had to offer, but it's a good representation of what I generally enjoyed in 2020.</div><div style="text-align: left;"><br /></div><span><a name='more'></a></span><div style="text-align: left;"><br /></div></div><div style="text-align: left;"><b>100 gecs - "sympathy 4 the grinch"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8Lyvv_bhzD0" width="320" youtube-src-id="8Lyvv_bhzD0"></iframe></div><div style="text-align: left;">100 gecs' belief that no genre or sound is too tacky hasn't stopped being surprising, and they use that to great effect on their wacky interpretation of a Christmas song, which blends ska, heavily processed vocals, and trap drum breakdowns. It shouldn't work, but like most things they do, it somehow does.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>21 Savage & Metro Boomin - "Rich Nigga Shit" (feat. Young Thug)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zlNCU09gzwc" width="320" youtube-src-id="zlNCU09gzwc"></iframe></div><div style="text-align: left;">With that luxurious beat Metro Boomin lays out, rapping over it almost seems unnecessary, but then 21 Savage drops hilarious lines like "I just did a 69 with her friend, pray to god she don't tell on me" and it's all worth it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Amine - "Pressure in My Palms" (feat. Vince Staples & slowthai)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vPQanb8ZTOs" width="320" youtube-src-id="vPQanb8ZTOs"></iframe></div><div style="text-align: left;">Amine is still delivering some of the most fun, effortless pop-rap around, but the best song on <i>Limbo</i> might be "Pressure in My Palms," where he invites Vince Staples and slowthai to go off on this hard-knocking, skittering beat.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Ariana Grande - "off the table" (feat. The Weeknd)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/dvndP8di-Uw" width="320" youtube-src-id="dvndP8di-Uw"></iframe></div><div style="text-align: left;">The Ariana Grande/Weeknd combo is turning out to one of the most reliable collaborations in music, as they give us the goods again on this gorgeously airy song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Armand Hammer - "Dead Cars" (feat. R.A.P. Ferreira)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7UVx9cDF8ew" width="320" youtube-src-id="7UVx9cDF8ew"></iframe></div><div style="text-align: left;">The first four verses on this song are good in their own right, but once you hear that second Billy Woods verse, everything feels like setup for his rattling dystopian descriptiveness. "The city's a hoarder, long dead in her bed" is an image that's stuck with me since I first heard it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Barely Civil - "Fairmount"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-zw26fbXGEo" width="320" youtube-src-id="-zw26fbXGEo"></iframe></div><div style="text-align: left;">Production doesn't get talked about as much in rock music as it does in rap or pop, but it's just as important to making a song work. Barely Civil's album <i>I'll Figure This Out</i> is a study in good rock music production. "Fairmount" sounds so crisp and spacious, and it only highlights how locked in the band's dynamics are.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Bartees Strange - "Mustang"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FlywGIexOnA" width="320" youtube-src-id="FlywGIexOnA"></iframe></div><div style="text-align: left;">The Bartees Strange hype train appeared to come out of nowhere this year, and with a song like "Mustang" it's not hard to imagine why. What a confident introduction this is, a huge and anthemic song that reminds me of the indie rock I loved in the mid 2000s.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>beabadoobee - "Sorry"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Pd73PBS3x9k" width="320" youtube-src-id="Pd73PBS3x9k"></iframe></div><div style="text-align: left;">That 90s alt rock sound that's been brought back by acts like Charly Bliss and Soccer Mommy finally had its full-on pop refraction with the arrival of beabadoobee, and while her brand of bubblegum grunge had a little too much sheen on it, when she struck the right balance on songs like "Sorry" it hit incredibly hard. She's definitely got the potential to be great.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Beach Bunny - "Colorblind"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/isedrbIb3Og" width="320" youtube-src-id="isedrbIb3Og"></iframe></div><div style="text-align: left;">There's a nagging hookiness to Beach Bunny's songs that can give you a bit of a toothache, but in micro doses it works wonders. If you're going to have a sample taste, make it "Colorblind," which packs four minutes worth of melodies in half the time.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Bekah CC - "No Change"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2UkelIlMKkc" width="320" youtube-src-id="2UkelIlMKkc"></iframe></div><div style="text-align: left;">Tom Breihan described this perfectly in his <a href="https://www.stereogum.com/2073313/pop-smoke-could-be-new-york-raps-next-great-demon/columns/status-aint-hood/">Status Ain't Hood</a> column back in February: "This is some real <i>Gummo </i>shit right here. Some opiate-epidemic Clairo shit. Some existential dread shit."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Bfb da Packman - "Free Joe Exotic" (feat. Sada Baby)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zzY64Qu8HHc" width="320" youtube-src-id="zzY64Qu8HHc"></iframe></div><div style="text-align: left;">2019 was the year of Sada Baby, and "Free Joe Exotic" felt like a passing the torch moment for Bfb da Packman, the next great hilarious Michigan rapper. It's hard to outbar Sada Baby, but Packman might do it here, dropping one wild self-deprecating bit after another. Highlight of the song goes to: "My bitch bout to leave me cuz I'm built just like Patrick / I nut super quick and I be weighing down the mattress / On the low dog, I'm tired of this fat shit."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Big Sean - "Friday Night Cypher" (feat. The entire city of Detroit)</b></div>
<div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yfGGXeiezf0" width="320" youtube-src-id="yfGGXeiezf0"></iframe></div>This song is the rap equivalent of all the heroes coming out of portals and showing up on the battlefield in the climatic fight of <i>Avengers: Endgame</i>. All of your Detroit favorites are here. Boldy James? He's here! Eminem? You better believe it! Sada Baby? You guessed it...he's here! And the biggest surprise? Big Sean gives one of the best verses on the whole 10 minute song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Black Thought - "Good Morning" (feat. Killer Mike, Pusha T, and Swizz Beatz)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/x3BkgGORgBY" width="320" youtube-src-id="x3BkgGORgBY"></iframe></div>Speaking of The Avengers, this is like a superhero team-up of oldheads. Highly recommended for people who often talk about what is and isn't "real hip hop."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Blu & Exile - "Miles Davis"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8Uynb-CyTUk" width="320" youtube-src-id="8Uynb-CyTUk"></iframe></div>You can always count on the rapper-producer pair of Blu & Exile to deliver the goods, and they don't disappoint on "Miles Davis," where Blu goes nuts with head-spinning, knotty lines on top of Exile's appropriately jazzy beat.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Bully - "Every Tradition"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/b1-7QqJuKOA" width="320" youtube-src-id="b1-7QqJuKOA"></iframe></div>Alicia Bognanno is just going to keep releasing what sounds like long lost Hole albums every few years and you'll hear no complaints from me.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Bumper - "Black Light"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/A7lEgDPhOUY" width="320" youtube-src-id="A7lEgDPhOUY"></iframe></div>Society could use a new Japanese Breakfast album as well as a new Crying album, but the Bumper EP -- a collaboration between Michelle Zauner and Crying guitarist Ryan Galloway -- was fantastic enough that it can hold us over for now. "Black Light" is some grade-A synth pop, with Zuaner's melodic coo floating over the spaced out production.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Burna Boy - "Naughty By Nature" (feat. Naughty By Nature)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MHzGugzhp0c" width="320" youtube-src-id="MHzGugzhp0c"></iframe></div>I don't listen to nearly enough Afrobeat and dancehall music, and Burna Boy's <i>Twice As Tall</i> reminded me of that sad fact this year. "Naughty By Nature" shows how well his style crosses over with today's rap and pop sounds, while also giving us a flavor of yesterday by having Naughty By Nature sounding positively invigorated on their guest spot.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Busta Rhymes - "Look Over Your Shoulder" (feat. Kendrick Lamar)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NrBcPMGUC_w" width="320" youtube-src-id="NrBcPMGUC_w"></iframe></div>Busta Rhymes: still kind of good! But the main attraction here is the Kendrick Lamar verse, apparently a leftover from years ago, giving Genius users a workout with the insane rhyme scheme he constructs in his opening verse.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Cakes Da Killa & Proper Villains - "Don Dada"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2MxT6PePWZQ" width="320" youtube-src-id="2MxT6PePWZQ"></iframe></div>House music and rap come together like peanut butter and chocolate on "Don Dada." Cakes Da Killa is a monster here, high stepping all over this hard-charging club banger.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Carly Rae Jepsen - "Let's Sort the Whole Thing Out"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7yFRMpigHeg" width="320" youtube-src-id="7yFRMpigHeg"></iframe></div>Carly Rae Jepsen is notorious for recording a ton of songs for her albums, resulting in <i>Dedicated Side B</i>, which is genuinely great as a standalone album. "Let's Sort the Whole Thing Out" probably wouldn't have fit on last year's proper <i>Dedicated </i>record, but it would have been one of the best tracks on there anyway. Jepsen's willingness to dial up the cheese factor often turns into one of her greatest strengths, as it does on this song, which floats along a deliciously catchy teeny bopper melody.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Carpool - "The Salty Song (Erotic Nightmare Summer)"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YN0VRWrE5Q8" width="320" youtube-src-id="YN0VRWrE5Q8"></iframe></div>This song is pop punk at its finest. If that sneering delivery of the hook's line, "You're next to me, and I'm so fuckin' salty" doesn't get you, then you're a lost cause.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Charmer - "Wolf Fang Fist"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/U6Ora_7SQhU" width="320" youtube-src-id="U6Ora_7SQhU"></iframe></div>Some of the best guitar music is happening over in the emo corner of the music landscape. This Charmer track has got some wonderfully twisty six-string work and math-y tempo shifts. Plus the title is a Dragon Ball Z reference, so that already had my goodwill before I even hit play.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Chris Crack - "Productively Stoned"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zvc8sKNjYX8" width="320" youtube-src-id="zvc8sKNjYX8"></iframe></div>This year I discovered Chris Crack and quickly became overwhelmed by him constantly putting out new music. But for those willing to keep up, his quick and heavily soul-sampled songs can be a real treat.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Curren$y - "Riviera Beach [Extended Clip]" (feat. Boldy James & Conway the Machine)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LOopbW4sJPU" width="320" youtube-src-id="LOopbW4sJPU"></iframe></div>I have not been keeping up with Curren$y's career since around the <i>Pilot Talk </i>days, but apparently that was a mistake, because it appears he's still reliably churning out laid back slick talk. This song rides on an excellent Harry Fraud beat with a prominent rolling bassline, and great guest verses from Boldy James and Conway the Machine.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><b>Denzel Curry & Kenny Beats - "So.incredible.pkg"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FuDGRSKUpIM" width="320" youtube-src-id="FuDGRSKUpIM"></iframe></div>Producer Kenny Beats' Youtube series The Cave is one of the most exciting things going in rap right now because not only does it give you a fun insight into the process of making beats and being in the studio, but it also teases some bigger collaborations you might see in the future. Last year, when Denzel Curry scorched the booth <a href="https://www.youtube.com/watch?v=GWenb9Noq_A">in his episode</a>, everyone was itching for a full project with him and Kenny Beats. We got our wish this year with their <i>Unlocked</i> EP, which is a great display of both artists' versatility.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Disclosure - "Lavender" (feat. Channel Tres)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gpS8QoaiaI0" width="320" youtube-src-id="gpS8QoaiaI0"></iframe></div>Disclosure bounced back in a big way after the sophomore slump they experienced on <i>Caracal</i>. <i>Energy</i> was a return to form with terrific UK garage songs like "Lavender" -- catchy, incessant, and danceable.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Dogleg - "Fox"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/51yb3yJfrj4" width="320" youtube-src-id="51yb3yJfrj4"></iframe></div>People <i>really</i> loved this Dogleg album, and while it's not fully in my wheelhouse, even I'm not crazy enough to deny the power of "Fox." That riffage makes me want to shout "let's open up the pit!"</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Dua Lipa - "Levitating"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WHuBW3qKm9g" width="320" youtube-src-id="WHuBW3qKm9g"></iframe></div>I'll probably get crucified for saying this, but I think <i>Future Nostalgia</i> is the most overrated album of the year. The songs are catchy, but the whole affair lacks personality and a point of view. Even the biggest bops can sound a little hollow without those elements. But I'll begrudgingly give "Levitating" some credit for being the best non-"Don't Start Now" track on the album.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Eastside Reup - "My Dawg" (feat. Sada Baby)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NHxg0pUs_lU" width="320" youtube-src-id="NHxg0pUs_lU"></iframe></div>Get ready for this list to feature alot of Sada Baby guest verses. This tag team with the Eastside Reup crew is one of the many examples of what makes Detroit the most exciting scene in rap. Sada spits in the leadoff position and the momentum never lets up.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Empress Of - "Bit of Rain"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QkfwSb6xGDE" width="320" youtube-src-id="QkfwSb6xGDE"></iframe></div>Empress Of is out here making incredible alt-pop and doing so largely under the radar. Don't miss out on her gorgeous voice and infectious grooves.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Empty Country - "Becca"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TdTV9-AlToM" width="320" youtube-src-id="TdTV9-AlToM"></iframe></div>While I'd prefer it if Cymbals Eat Guitars was a band again, Joseph D'Agostino's new solo project Empty Country satisfied that hunger a little bit. Album highlight "Becca" shows that his penchant for stirring storytelling hasn't dulled one bit. The narrative, about a woman who purposefully passes out bogus protective glasses to people during an eclipse and leaves them blind, is so chilling.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Fiona Apple - "Rack of His"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RYIkFmoLREc" width="320" youtube-src-id="RYIkFmoLREc"></iframe></div>Fiona Apple's excellent return after eight years away was a little more bare and wiry in terms of instrumentation, but she really cuts loose and unleashes that old school, gorgeously lush Fiona Apple sound on "Rack of His." It's utterly sublime.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Flo Milli - "Pussycat Doll"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7xWOUV7uWv4" width="320" youtube-src-id="7xWOUV7uWv4"></iframe></div>Flo Milli's <i>Ho, why is you here?</i> served as an excellent introduction to one of rap's most exciting new talents. "Pussycat Doll" is just dripping with personality -- Flo Milli's bratty delivery commands your attention and her effortless way with hooks is something scary.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Frances Quinlan - "Your Reply"</b></div><div style="text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TtJve6VDKTA" width="320" youtube-src-id="TtJve6VDKTA"></iframe></div><div style="text-align: left;">On Hop Along songs, the raw power of Frances Quinlan's singular voice gets put on display frequently, but her solo album from earlier this year spotlighted how captivating her pipes are when she's more in the pocket. She performs some of the most fascinating deliveries and vocal phrasings on "Your Reply" that give it this livewire, unpredictable energy.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Freddie Gibbs & The Alchemist - "Baby $hit"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/i8ZLstq919k" width="320" youtube-src-id="i8ZLstq919k"></iframe></div>When Freddie Gibbs is locked in, there are few people who can match the precision of his flow. And The Alchemist serves up the perfect beat for him to unleash on "Baby $hit."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Frisco - "Red Card" (feat. Jammer, JME, Shorty & Skepta)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ey5uynrMyOE" width="320" youtube-src-id="Ey5uynrMyOE"></iframe></div>It's very enjoyable to make fun of grime rappers because, let's admit it, rapping in a British accent is just inherently amusing. But sometimes you have to put the jokes aside and acknowledge when a grime song absolutely caves in your skull. And that's what we must do here with "Red Card," a song where 5 UK rappers perform an all-out attack on a wild beat that sounds like a hypnotized fire alarm. Cheers, mate.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Goalie's Anxiety at the Penalty Kick - "The Cat Stands on My Arm"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pfTIjlx6lD0" width="320" youtube-src-id="pfTIjlx6lD0"></iframe></div>I'm most upset about not being able to find a spot on my top 20 list for <i>Ways of Hearing</i>, the debut album from The Goalie's Anxiety at the Penalty Kick. They sound like no other band I've heard right now -- an holy mix of slowcore, indie rock from back when bands had seven members and one played the glockenspiel, and early Modest Mouse; all with vocals that sound like Tina from Bob's Burgers. "The Cat Stands on My Arm" shows the peak of their power, winding up and building to a transcendent catharsis.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>
<div style="text-align: left;"><b>Goodie Mob - "Pray 4 Da Sheep" (feat. Big Boi) & "No Cigar" (feat. Andre 3000)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XuBAFYlZ6Cw" width="320" youtube-src-id="XuBAFYlZ6Cw"></iframe></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xnddOaheg0s" width="320" youtube-src-id="xnddOaheg0s"></iframe></div>If you squint hard enough, you can pretend there was an Outkast reunion this year. On back-to-back songs, Big Boi and Andre 3000 drop into the latest Goodie Mob album, sounding vibrant. And while they're not on the same track, hearing them in such close proximity -- especially with old Dungeon Family friends and Organized Noise production -- sure is special.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Grimes - "You'll miss me when I'm not around"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_IHaCyX6-Xo" width="320" youtube-src-id="_IHaCyX6-Xo"></iframe></div>Even as somebody who wasn't as obsessed with <i>Art Angels</i> as the rest of the internet was, the new Grimes album was a pretty big disappointment. "You'll miss me when I'm not around" is fantastic though, mostly because the beat sounds like a cat.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Guitar Fight From Fooly Cooly - "Teens//candle"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/g4N9pmfPLP0" width="320" youtube-src-id="g4N9pmfPLP0"></iframe></div>Out of all the emo bands I tried out this year, Guitar Fight From Fooly Cooly was probably the one that excited me the most. Aside from the cool name and penchant for throwing random video game samples in their songs, their songs completely shred. "Teens//candle" is actually one of their least hyperactive tracks, but it taps into the band's level of intensity with bratty vocals and a sound that just crunches. It's hard to not hurt your neck banging along with it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Halsey - "I'm Not Mad"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OCkohjacFU0" width="320" youtube-src-id="OCkohjacFU0"></iframe></div>My road to becoming pro-Halsey started when I first found that she's half-black a couple of years ago, but "I'm Not Mad" turned me into a full convert.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Hamilton Leithauser - "Isabella"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bh6BXxt-i28" width="320" youtube-src-id="bh6BXxt-i28"></iframe></div>With The Walkmen and in his solo efforts, Hamilton Leithauser has mastered the art of making songs to be listened to while leaning back and feeling content. "Isabella" taps into a sense of nostalgia that feels so comforting. It's beautiful stuff.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Helena Deland - "Clown Neutral"</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/dtcFSJ73w6U" width="320" youtube-src-id="dtcFSJ73w6U"></iframe></div><div style="text-align: left;">I first became aware of Helena Deland when she sang the hook on one of the songs on JPEGMAFIA's album last year, and her own music is way different but very interesting. I love the quiet intensity of "Clown Neutral."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Icewear Vezzo - "Two Hands" (feat. Sada Baby)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/r9WdPhZBZEk" width="320" youtube-src-id="r9WdPhZBZEk"></iframe></div>The best thing about getting into Sada Baby is discovering all of the Detroit emcees who rap with almost the same amount of reckless abandon and the same style of elastic flow.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Japanese House - "Dionne" (feat. Justin Vernon)</b></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QZdyMVTAMEA" width="320" youtube-src-id="QZdyMVTAMEA"></iframe></div><div style="text-align: left;">Aside from Sada Baby, nobody was slaying features as consistently as Justin Vernon in 2020. His best guest appearance didn't even come on his two songs with Taylor Swift, but on "Dionne" by The Japanese House. He pairs perfectly with Amber Rain's voice and style, giving a vintage Bon Iver hook that sounds huge and gorgeous.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Jojo - "Gold"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/K35haUXf7Cs" width="320" youtube-src-id="K35haUXf7Cs"></iframe></div>As someone who was 12 years old when "Leave (Get Out)" was tearing up the TRL countdown, I'll always root for Jojo. She's finally aged into the sensual adult R&B she was always meant to make, and "Gold" shows she's still damn good at it.</div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>Kehlani - "Everybody Business"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pq1VJx72fFU" width="320" youtube-src-id="pq1VJx72fFU"></iframe></div>It feels like maybe the world is starting to underrate Kehlani. She makes this brand of classic sounding R&B at such a steady clip that it's easy to overlook, but that kind of skill and consistency is special.<br /><b><br /></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Kero Kero Bonito - "It's Bugsnax!"</b></div><div style="text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sQTk4eK2fP4" width="320" youtube-src-id="sQTk4eK2fP4"></iframe></div><div style="text-align: left;">Even when they're making a song for a video game, Kero Kero Bonito just don't miss. They've mastered the art of crafting songs that are silly and wholesome, but still catchy and sneakily moving. And nobody fits in weird things like the pan flute sounding instrument on "It's Bugsnax!" the way they do.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Knope - "Holy Water"</b></div><div style="text-align: left;"><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5I3D-MjR1bs" width="320" youtube-src-id="5I3D-MjR1bs"></iframe></div>An Exercise in Patience</i>, this year's EP from Knope, has an immediacy to it that reels you in. Those thin, colorful guitar lines on "Holy Water" sound fantastic.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Megan Thee Stallion - "What's New"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CgCmsdJ86Uc" width="320" youtube-src-id="CgCmsdJ86Uc"></iframe></div>That beat, that level of swagger, that hook. It's Megan Thee Stallion's world and we're just living in it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>No Thank You - "Strange & Wonderful"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/E5BjCWLzRtM" width="320" youtube-src-id="E5BjCWLzRtM"></iframe></div>I love a good under-two-minute song and this is one of the best of the year. A catchy, bite-sized treat with massive guitars.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>OG Louie the XIII - "Percs" (feat. Sada Baby)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/b4_x3ZuVgZQ" width="320" youtube-src-id="b4_x3ZuVgZQ"></iframe></div>This is basically a Sada Baby song and it's one of his best. Highlight line: "I never robbed nann nigga, never needed to. And if that bitch really loved you, she would be with <i>you</i>."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Oolong - "Dude, It's Painfully Obvious"</b></div>
<div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4mRnS906Xd0" width="320" youtube-src-id="4mRnS906Xd0"></iframe></div>The debut album from this Long Island emo skate punk band can get a little grating if you listen to it straight through, but there are moments like this song that hit like a ton of bricks. "Dude, It's Painfully Obvious" is in constant movement, fitting about seven different songs in five and a half minutes, and they all rule.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Orla Garland - "oh GOD"</b></div><div style="text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3OdS2Vf0QL0" width="320" youtube-src-id="3OdS2Vf0QL0"></iframe></div><div style="text-align: left;">For some people, there's no turn off that's more immediate than hearing the phrase "YouTube musician," but don't let that keep you from getting into Orla Gartland, whose <i>Freckle Season</i> EP provided constant joy. Her voice is powerful and clear as a bell on "oh GOD," where she's also able to display a surprising depth in even her simpler arrangements.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Pictures of Vernon - "A Little Warmer"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/U_DkmybghZo" width="320" youtube-src-id="U_DkmybghZo"></iframe></div>I didn't fully get around to Pictures of Vernon's album <i>Bug</i> until a few weeks ago, but I love "A Little Warmer," which makes a great argument for the catchy pleasures that emo and pop punk music are providing in ways most other genres aren't.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Polo G - "Go Stupid" (feat. NLE Choppa & Stunna 4 Vegas)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PEEoaKwwxbg" width="320" youtube-src-id="PEEoaKwwxbg"></iframe></div>The most apt song title of the year.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Retirement Party - "Ebb"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2epO2ZtQBxI" width="320" youtube-src-id="2epO2ZtQBxI"></iframe></div>At first, <i>Runaway Dog</i> was a giant disappointment to me. I was a massive fan of Retirement Party's last album <i>Somewhat Literate</i>, and this follow-up felt like a complete rejection of everything that made its predecessor so special. Over the year I've grown to appreciate the new record on its own merits quite a bit, and the thicker sound of the album works well, especially on "Ebb."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Rina Sawayama - "XS"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SqBdfJcehis" width="320" youtube-src-id="SqBdfJcehis"></iframe></div>There's a rising nu-metal revival going on in pop music, and as awful as it sounds on paper, I'm totally here for it, especially with a song like "XS," which goes the extra mile and mixes it with an acoustic guitar strum that sounds straight out of Justin Timberlake's "Like I Love You."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Rolling Blackouts Coastal Fever - "Cameo"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VbQryKouPbc" width="320" youtube-src-id="VbQryKouPbc"></iframe></div>Having three guitarists may seem like overkill, but Rolling Blackouts Coastal Fever always use it to give their songs extra oomph. On "Cameo," they take a slightly different route from their usual ping-ponging guitar interplay to do more of a slow build, which makes that hook hit like a tsunami when it comes.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Sauce Twinz - "Big Drip Squad" (feat. Sada Baby & Sauce Gohan)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yZHOTdGndWU" width="320" youtube-src-id="yZHOTdGndWU"></iframe></div>The fun energy of this song is infectious enough, but then the video takes it to a whole new level. What a blast.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Sheff G - "Tip Toe" (feat. Sleepy Hallow)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Jmic5lwEQgk" width="320" youtube-src-id="Jmic5lwEQgk"></iframe></div>I don't keep up with the Brooklyn drill scene much, but that "Tip Toe Through the Tulips" sample is undeniable, and Sheff G and Sleepy Hallow stomp all over it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Silverbacks - "Muted Gold"</b></div><div style="text-align: left;"><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SHKiEgBx20s" width="320" youtube-src-id="SHKiEgBx20s"></iframe></div>Fad</i>, the debut album from Irish quintet Silverbacks, excellently traffics in the kind of guitar rock that was popular in the UK in the mid 2000s, but on "Muted Gold" they put on their Talking Heads hats and sound just as amazing doing that.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Snarls - "Burst"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5shtARwMXF0" width="320" youtube-src-id="5shtARwMXF0"></iframe></div>It's hard to nail down Snarls' sound -- many of their songs sound a little shoegaze, but much cleaner. Whatever you want to classify it as, "Burst" is a cavernous tune, with those chugging guitars, starting quiet and then just exploding.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Sosamann - "Sauce & Season" (feat. Sada Baby)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/geDRIAqELSQ" width="320" youtube-src-id="geDRIAqELSQ"></iframe></div>Detroit rap is currently characterized by lots of chintzy sounding, bare bones beats, but the rare occasion where somebody raps over something smooth always slaps.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Slayter - "Louis V Umbrella" (feat. Sada Baby)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/GG9w4CdBvc8" width="320" youtube-src-id="GG9w4CdBvc8"></iframe></div>Another Detroit rap song, another show-stealing Sada Baby verse. Highlight line: "Shoot him in his head, make him leak his true feelings."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Tay B - "Can't Make This Up"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kpIP5lq5SKw" width="320" youtube-src-id="kpIP5lq5SKw"></iframe></div>The "two minutes of rapping with no hook" format is having a real renaissance, and I'm as happy as can be about it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Thank You, I'm Sorry - "Menthol Flavored Oatmeal"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/24bPU-nCPxk" width="320" youtube-src-id="24bPU-nCPxk"></iframe></div>When you hear "I want to go back to being 10" on "Menthol Flavored Oatmeal," it doesn't sound like a twee fantasy. It's a desperate plea. Thank You, I'm Sorry lay out the anxieties of being broke and unhappy in your 20s all over their album <i>I'm Glad We're Friends</i>,<i> </i>but this track is the most effective evocation of those ideas.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Tobe Nwigwe - "Father Figure" (feat. Black Thought & Royce Da 5'9")</b></div>
<div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zBNMj2GGjps" width="320" youtube-src-id="zBNMj2GGjps"></iframe></div>Tobe Nwigwe brings out the big guns on "Father Figure" and holds his own well. Still, Black Thought steals the show, absolutely crushing his verse in the middle of the song.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Winter Passing - "Crybaby"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/r3z6SS0nYv4" width="320" youtube-src-id="r3z6SS0nYv4"></iframe></div>The Winter Passing sound a little bit like Los Campesinos! More bands should sound like Los Campesinos!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Yaeji - "MONEY CAN'T BUY" (feat. Nappy Nina)</b></div><div style="text-align: left;"><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bQEdTuKP5Lk" width="320" youtube-src-id="bQEdTuKP5Lk"></iframe></div>What We Drew 우리가 그려왔던 </i>had an excellent blend of mellow, wispy vocals and bouncy hip hop beats, and its best song "MONEY CAN'T BUY" is the apex of those two disparate elements coming together.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Young Jesus - "Pattern Doubt"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zJ4MIarCS5U" width="320" youtube-src-id="zJ4MIarCS5U"></iframe></div>Over half of the songs on <i>Welcome to Conceptual Beach</i> eclipse the six-minute mark, but the richest and most expansive song on the album gets it done in three and a half minutes. Without feeling overcrowded, it travels through so many movements, layering twinkly keys, saxophone, and stabbing guitar chords until the song is swirling with hypnotic beauty.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Young Nudy - "Cap Dem"</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rn6aZVRp-RM" width="320" youtube-src-id="rn6aZVRp-RM"></iframe></div>Even when he's not working with Pi'erre Bourne, Young Nudy is one of the best beat selectors working right now. And he's slowly proving himself to be a capable rapper too -- I love the way he just floats over this zoned-out production.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Your Old Droog - "Pravda" (feat. Black Thought, El-P, Mach-Hommy, and Tha God Fahim)</b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YJEcsk9XgRk" width="320" youtube-src-id="YJEcsk9XgRk"></iframe></div>Rap trends come and go, but listening to five dudes calmly ether a low-key, dusty beat will never get old.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Yves Tumor - "Kerosene!"</b></div><div style="text-align: left;"><i><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YnZLqtNXbAM" width="320" youtube-src-id="YnZLqtNXbAM"></iframe></div>Heaven To a Tortured Mind</i> was probably the acclaimed album that bounced off of me the most this year, but I'm smart enough to know a brilliant song when I hear it. There's no equivocating you can do about "Kerosene!" It's a five minute, guitar scorching masterpiece.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">If you want to listen to all of these songs in one place, they can be found in the Spotify playlist below.</div>
<iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/playlist/4jLxKbtCTDdKOWuRhBR19Y" width="300"></iframe>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com0tag:blogger.com,1999:blog-2395748504986705619.post-68516709385046568742020-08-01T22:30:00.000-04:002020-08-01T22:59:09.579-04:00Dispatches from elsewhere: A review of Taylor Swift's "folklore"<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-osGbb35ZWQw/XyWm1Jfp9VI/AAAAAAAADPE/pl0bRnlljMkxKrb4goKC-drryej671NlACLcBGAsYHQ/Taylor%2Bswift%2Bfolklore.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="796" height="263" src="https://1.bp.blogspot.com/-osGbb35ZWQw/XyWm1Jfp9VI/AAAAAAAADPE/pl0bRnlljMkxKrb4goKC-drryej671NlACLcBGAsYHQ/Taylor%2Bswift%2Bfolklore.jpg" width="500" /></a></div>
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For a while if you were a Taylor Swift fan, there was one certainty in life: a new album of hers would come out in the fall of an even-numbered year. And though that pattern was finally broken during the three-year break between 2014's <a href="https://yeahthatantonio.blogspot.com/2014/11/taylor-swift-goes-full-pop-on-1989.html"><i>1989</i></a> and 2017's <a href="https://yeahthatantonio.blogspot.com/2017/11/taylor-swift-did-something-bad-on.html"><i>Reputation</i></a>, the two-year gap returned with the release of <i><a href="https://yeahthatantonio.blogspot.com/2019/09/a-2000-word-review-of-taylor-swifts.html">Lover</a> </i>last year. The general idea seemed to be that if you wanted a new Taylor Swift album, you'd need to wait at least two years. That's why it was particularly shocking to wake up on July 23, 2020 to a social media post from her announcing that not only was she dropping a new album, but that it was coming out at midnight. Now that <i>folklore</i> has been in the world for a little over a week, it's finally time to plumb its depths.</div>
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It's an interesting time in Swift's life, as she's now 30 years old, a milestone that can cause anyone to spiral, let alone a former teen star whose appeal has often been centered around her youthfulness and prodigy status. We also happen to be living in a complicated time in the United States, suffering the worst effects of a global pandemic and going stir crazy from months of self-isolation. This personal upheaval and a larger global upheaval both appear to have contributed to the themes and stark black-and-white aesthetic of <i>folklore</i>, which seems to be written from the perspective of someone who's finally letting the sheer accumulation of life dawn on them. Album opener "the 1" serves as a tone-setter in that regard, as she sorts through thoughts about a former partner and ponders how things could have been different between them. "You know the greatest films of all time were never made," she sings at one point, which feels like a key to understanding the whole album. It's a record obsessed with sliding doors, what ifs, and lost time. The longer you're on this earth, the more there are lives unlived that branch out from your path of reality, and it's a concept she reflects on often in these 16 new tracks.</div>
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<i>Folklore </i>embraces the idea of its title in the literal sense, offering up tales of the nouveau riche, visions of war, and ballads about mournful ghosts. On these tracks, she plays the role of a raconteur with a 360 degree view of everything, taking these creative writing exercises and transforming them into vivid, compassionate narratives. But as always, she also finds a way to turn things inward. This is an album filled with totems and memories, and Swift weaves them all together into the idea that our personal history is a form of folklore itself.</div>
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She's able to accomplish this because she is one of the most cogent communicators of emotion out there, able to put a finger on complex, tangled thoughts and translate them into fragrant phrases that bore into your brain. Here she is on "this is me trying," describing a lost love she can't stop thinking about: "You're a flashback in a film reel on the one screen in my town." On "seven," reflecting back on the freedom of childhood: "Please picture me in the weeds / Before I learned civility / I used to scream ferociously / Any time I wanted." The imagery on "august" is so rich you can basically feel the heat of an endless summer day and being "twisted in bedsheets." And she always knows how to add the perfect descriptors to make a line really pop. It's not just a high, it's a "dwindling, mercurial high." The wedding wasn't just charming, it was "charming, if a little gauche."</div>
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Swift's gift as a lyricist is nothing new, but some of the sounds she's playing with this time around are. When the shock of the surprise album announcement wore off, the next biggest thing to process was the fact that 11 of the 16 songs on <i>folklore </i>would be co-produced by The National's Aaron Dessner. His signature plaintive piano, stately guitar lines, and gently stirring strings are all over this album, to the point where it basically sounds like a new National album if Taylor Swift were the lead singer instead of Matt Berninger. Swift has had an unlimited budget since around 2010, but even still, her music has never sounded as good as it does in Dessner's hands. Regular collaborator Jack Antonoff contributes production on the other five songs, and even though he plays a smaller role, it's still crucial. He knows the contours of her strengths so well at this point that he's able to coax her trademarks out of her when Dessner is busy pushing her to new territory. And though you can usually differentiate the Dessner songs (usually from the piano sounds) from the Antonoff ones (typically by the way he adds reverb to the vocals), the styles mesh surprisingly well.</div>
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If anything, though, the work that these two producers do on this only prove the skills we've known to be possessed by the person at the center all along. <i>Folklore </i>is The Taylor Swift Show through and through. At the end of the day good songwriting always prevails, and she's able to graft her crafty song construction and playful language games over just about any sound. She brings her sense memory-evoking skills to the Cranberries-esque "august," shows her talent for wringing out the head-spinning feeling of being in love through an off-kilter metaphor on "mirrorball," and spills naked emotions all over the bluesy "peace." The album is astonishing in its sheer amount of killer songs, including some of the best she's ever written, like "invisible string," a gorgeous, tightly written rumination on the vagaries of life that bring us together.</div>
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I used to wonder what Taylor Swift's music would look like once she got older, and even had a little bit of doubt about she whether she could sustain herself creatively past 30. But of course, the signs were always there that she was more of musical chameleon than anybody gave her credit for. If she could sound like herself over moon-eyed country ballads like "Tim McGraw," dubstep drops on "I Knew You Were Trouble," and the 80s nostalgia pop of "I Wish You Would," it makes sense that she would continue to evolve without much struggle. And her last two albums have shown that her ability to render universal thoughts and feelings aren't exclusive to teen emotions. This time around her musings don't have the raw immediacy of her early work, but they've been replaced by a cooler, top-down perspective that's different, yet just as interesting. Last year's <i>Lover </i>proved that she's hadn't lost her pop songwriting abilities, but <i>folklore </i>finds herself stretching in fascinating ways. If it's any indication, this next decade of Taylor Swift music is going to be thrilling.<br />
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(Also if you'd like to read my ranking of each song on <i>folklore</i>, check out <a href="https://letterboxd.com/antoniooo/film/taylor-swift-city-of-lover-concert/">this Letterboxd post</a>.)</div>
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Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com0tag:blogger.com,1999:blog-2395748504986705619.post-64660120483725719032020-04-25T01:05:00.001-04:002020-04-25T10:36:17.616-04:00Better Call Saul finds another gear in its fifth and best season<div class="separator" style="clear: both; text-align: center;">
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It's hard to imagine feeling so right now, but <i>Better Call Saul</i> seemed like a monumentally bad idea when it was first announced. Spinoffs are, more often than not, creatively bankrupt cash grabs and making one for a beloved series like <i>Breaking Bad</i> ran the risk of souring people on the whole franchise. Luckily, the series has proven that no matter what challenge you put in front of this creative team they'll churn out great television.</div>
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Though while it was always terrific on a purely technical and objective level, the show never was able to engender the kind of intense fervor that its predecessor was able to for me. I've always really liked <i>Better Call Saul</i>, but I loved <i>Breaking Bad</i>. All of that changed in the former's excellent fifth season, which just concluded its thrilling ride earlier this week.</div>
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<i>Saul</i> has always been two shows in one, with Jimmy and Kim living out their morality plays in one corner and Mike and Gus embroiled in the power plays of the Albuquerque drug trade in another corner. Both were pretty compelling, though the drug half often suffered from prequel-itis more than its counterpart, simply going through the motions to put things in the place of <i>Breaking Bad</i>'s starting point. Now that those two halves have merged, season five felt like the series was finally humming along and realizing its full potential. Previously the show's two modes conversed with each other only on a thematic level -- the entire universe is populated by people chiseling away at the list of things they are unwilling to do -- but it's way more electric when they're actually intertwining on a literal level.</div>
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Last season saw Jimmy finally adopting the Saul Goodman moniker, and this year his slide into the inevitable accelerated at a rapid pace, becoming a "friend of the cartel" and getting tangled up with wildcard Lalo Salamanca. The intersection of the legal and cartel hemispheres of the world led to one of the season's best episodes, "Bagman," where Jimmy's mission to pick up Lalo's seven million dollars of bail money turns into a grisly shootout, followed by a long sojourn in the desert with Mike. It's an episode that recalled <i>Breaking Bad</i>'s classic "4 Days Out" -- surely not a coincidence that Vince Gilligan, who has ceded day-to-day control of <i>Saul</i> to Peter Gould, returned to direct this hour -- blending all of this creative team's strengths together. It's at once full of nailbiting tension, atmospheric patience, and ingenious plotting. One of the things that's admirable about <i>Better Call Saul</i> is that it has thoroughly staked out its own identity, so it almost feels wrong to praise the show for injecting some more <i>Breaking Bad</i> into its veins, but it's hard to deny that it sings when working in that style.</div>
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The fact that it's a prequel has always loomed over the show narratively. At the end of the day, we know where the show's going to end up. A problem that frequently plagues prequels is that it's hard to invest in what you're watching since it's all in service of a known endpoint. <i>Better Call Saul</i> has circumvented this in two ways. The first is simple: it has made the audience savor the journey through its sheer craft and leaning into the clockwork fatalism that was even baked into <i>Breaking Bad</i> instead of running away from it. But more importantly, it <i>knows</i> that because we're largely aware of how things end, it can wring out tension and emotion from homing in on the unknown variables in the equation.</div>
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It's not a surprise that this season Kim, Nacho, and Lalo were the most compelling characters to follow. We know the broad strokes of what can and can't happen to the likes of Jimmy, Gus and Mike, which makes the open possibilities of anything involving Kim, Nacho, Lalo feel all the more gutwrenching. Lalo's status as a chaos agent is amplified by the fact that he's an invention of <i>Better Call Saul</i> and we therefore have no idea what he'll do next. Meanwhile, Nacho's role as a double agent and his desire to get out of the game has even higher stakes knowing that he may not be long for this world.</div>
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Where this pays the biggest dividends, however, is with Kim. She's been the show's best character from the outset, partially because it's hard not to be when Rhea Seehorn is giving a pantheon performance playing her, but Kim's only gotten more fascinating as the show has gone on and toyed with our perception of how things could turn out for her. Most people just assumed in the beginning that things would eventually end poorly between her and Jimmy once his full evolution into Saul Goodman was complete. What season five did was reveal a failure of imagination within all of us. From suggesting that she and Jimmy get married once he gets involved with the cartel to her confronting Lalo head-on when he imposes on them in their home, Kim was constantly upending our expectations. It seemed as if truly anything could happen with her in these 10 episodes. Would she leave Jimmy after he finally did something to cross the line? Would she get killed right on the spot when Lalo shows up at their doorstep?</div>
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The actual answer is simpler and more tragic. Though she's always found thrills in Jimmy's grifting game, Kim has also been the closest thing the show had to a moral center. But really, when we thought we were watching Jimmy's process of "breaking bad," this whole time we were slowly watching Kim's. That feeling that something very obvious is being revealed before our eyes is what makes the scene where she's suggesting to Jimmy that they illegally sabotage Howard to force a resolution to the Sandpiper case makes it so heartbreaking, even more so because Jimmy seems to understand she's past the point of no return too. The moral corrosion was always within her, Jimmy just provided the activation energy.</div>
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With next season being the show's final one, this year was the ideal penultimate season, perfectly ramping things up and setting everything in motion for an exciting conclusion. And with the end nearing, <i>Saul</i> is pulling out all the stops. We thought we were going into this show with a full map, but the brilliance of it is that it has proceeded to reveal all sorts of hidden rooms and passages we never could have imagined.</div>
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Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com6tag:blogger.com,1999:blog-2395748504986705619.post-69778048735505526342020-02-09T01:06:00.000-05:002020-05-16T10:12:11.993-04:002020 Academy Award predictions<div class="separator" style="clear: both; text-align: center;">
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Every year I feel more and more out of touch with the temperature of the Oscar race, so these predictions could be a disaster. I think it will be a pretty big night for <i>1917</i>, but I could be wrong. For the sake of my ballot I'm hoping for a predictable Academy Awards, but for the sake of chaos I want a ton of surprises.<br />
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<b><span style="font-size: large;">Best Visual Effects</span></b></div>
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<i>Avengers: Endgame</i><br />
<i>The Irishman</i><br />
<i>The Lion King</i><br />
<i>1917</i><br />
<i>Star Wars: The Rise of Skywalker</i></div>
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<b><br /></b><b>Will Win: </b><i>1917</i></div>
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<b>Should Win: </b><i>The Lion King</i></div>
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Normally I'd think the visual effects in <i>1917</i> wouldn't be the kind of thing the Oscar voters would notice, but I'm guessing they love the film enough that it will carry over into the technical stuff too. Any of these would be solid winners, but I think <i>The Lion King </i>is the best in the category. Absolutely dreadful movie, but the CGI is incredible.</div>
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<span style="font-size: large;"><b>Best Film Editing</b></span></div>
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<i>Ford v Ferrari</i><br />
<i>The Irishman</i><br />
<i>Jojo Rabbit</i><br />
<i>Joker</i><br />
<i>Parasite</i></div>
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<b>Will Win: </b><i>Ford v Ferrari</i></div>
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<b>Should Win: </b><i>Parasite</i></div>
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Right now with the oddsmakers it's pretty much neck and neck between <i>Ford v Ferrari</i> and <i>Parasite</i>. While I think the latter is the better edited film -- part of the joy of the movie is its pacing and rhythm -- I have a hunch that the Academy as a whole isn't as into it as some might think. Plus, <i>Ford v Ferrari</i> has the more obvious editing and that tends to win out in this category.</div>
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<b><span style="font-size: large;">Best Costume Design</span></b></div>
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<i>The Irishman</i><br />
<i>Jojo Rabbit</i><br />
<i>Joker</i><br />
<i>Little Women</i><br />
<i>Once Upon a Time in Hollywood</i></div>
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<b>Will Win: </b><i>Little Women</i></div>
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<b>Should Win: </b><i>Little Women</i></div>
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<i><br /></i>A part of me wants to fight against the tendency to award period pieces set in the 1800s and early 1900s, but <i>Little Women</i> really did have the best costuming in this category.</div>
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<b><span style="font-size: large;">Best Makeup and Hairstyling</span></b></div>
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<i>Bombshell</i><br />
<i>Joker</i><br />
<i>Judy</i><br />
<i>Maleficent: Mistress of Evil</i><br />
<i>1917</i></div>
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<b>Will Win: </b><i>Bombshell</i></div>
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<b>Should Win: </b><i>Maleficent: Mistress of Evil </i></div>
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I don't have a strong opinion on this category at all, so take my <i>Maleficent</i> preference with a grain of salt. The voters will most definitely be impressed by how much Charlize Theron looked like Megyn Kelly in <i>Bombshell</i>.<br />
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<b><span style="font-size: large;">Best Cinematography</span></b></div>
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<i>The Irishman</i>, Rodrigo Prieto<br />
<i>Joker</i>, Lawrence Sher<br />
<i>The Lighthouse</i>, Jarin Blaschke<br />
<i>1917</i>, Roger Deakins<br />
<i>Once Upon a Time in Hollywood</i>, Robert Richardson</div>
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<b>Will Win: </b><i>1917</i></div>
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<b>Should Win: </b><i>1917</i></div>
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<i><br /></i>I can't believe we live in a world where Roger Deakins went from "always nominated but never wins" to almost certain to be winning his second award in three years. Good for him, he's a king.</div>
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<b><span style="font-size: large;">Best Production Design</span></b></div>
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<i>The Irishman</i><br />
<i>Jojo Rabbit</i><br />
<i>1917</i><br />
<i>Once Upon a Time in Hollywood</i><br />
<i>Parasite</i></div>
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<b>Will Win: </b><i>Once Upon a Time in Hollywood</i></div>
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<b>Should Win: </b><i>Once Upon a Time in Hollywood</i></div>
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I love the production design in <i>Hollywood </i>and <i>Parasite</i> both so much, but I think ultimately the ancient Oscar voters will go for the former for reminding them of L.A. when they grew up in it.</div>
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<b><span style="font-size: large;">Best Sound Mixing</span></b></div>
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<i>Ad Astra</i><br />
<i>Ford v Ferrari</i><br />
<i>Joker</i><br />
<i>1917</i><br />
<i>Once Upon a Time in Hollywood</i></div>
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<b>Will Win: </b><i>1917</i></div>
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<b>Should Win: </b><i>Once Upon a Time in Hollywood</i></div>
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I'm still not entirely convinced that most Academy members know the difference between editing and mixing. <i>1917</i> will get love in both because people keep throwing around the phrase "technical achievement" when describing the film and these are technical awards after all. But I really dug the mixing in <i>Hollywood</i>, particularly in the Cliff driving scenes.</div>
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<b><span style="font-size: large;">Best Sound Editing</span></b></div>
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<i>Ford v Ferrari</i><br />
<i>Joker</i><br />
<i>1917</i><br />
<i>Once Upon a Time in Hollywood</i><br />
<i>Star Wars: The Rise of Skywalker</i></div>
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<b>Will Win: </b><i>1917</i></div>
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<b>Should Win: </b><i>Ford v Ferrari</i></div>
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Again, this one goes to <i>1917</i> but my personal pick goes to <i>Ford v Ferrari</i> because I love a good vroom vroom.</div>
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"I Can't Let You Throw Yourself Away," <i>Toy Story 4</i></div>
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"(I'm Gonna) Love Me Again," <i>Rocketman</i></div>
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"I'm Standing With You," <i>Breakthrough</i></div>
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"Into the Unknown," <i>Frozen II</i></div>
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"Stand Up," <i>Harriet</i></div>
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<b>Will Win: </b>"(I'm Gonna) Love Me Again," <i>Rocketman</i></div>
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<b>Should Win: </b>"Stand Up," <i>Harriet</i></div>
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In listening to all of these songs, I was surprised by just how much I loved "Stand Up." <i>Harriet</i> seems like not my cup of tea, but that song is so rousing and soulful. I like Randy Newman's song in <i>Toy Story 4</i> too, though it doesn't really deviate much from the usual thing he does for the series. "I'm Standing With You" is as soggy as <i>Breakthrough</i> looks, and "Into the Unknown" simply isn't "Let It Go." I like "(I'm Gonna) Love Me Again," so I won't mind it winning.</div>
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<i>Joker</i>, Hildur Guonadottir</div>
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<i>Little Women</i>, Alexandre Desplat</div>
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<i>Marriage Story</i>, Randy Newman</div>
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<i>1917</i>, Thomas Newman<br />
<i>Star Wars: The Rise of Skywalker</i>, John Williams</div>
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<b>Will Win: </b><i>Joker</i></div>
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<b>Should Win: </b><i>Little Women</i></div>
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I couldn't even tell you what the <i>Joker</i> score sounded like before I listened to it for this post. It's not a score I care for at all but it seems to have been winning at other award ceremonies so I think it will keep its momentum here. <i>Marriage Story</i> and <i>Little Women</i> were in a heated race for my favorite, but I slightly prefer the jauntiness of the latter's score.</div>
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<b><br /></b><b><br /></b><b><span style="font-size: large;">Best Animated Short Film</span></b></div>
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<i>Dcera (Daughter)</i><br />
<i>Hair Love</i><br />
<i>Kitbull</i><br />
<i>Memorable</i><br />
<i>Sister</i></div>
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<b>Will Win: </b><i>Hair Love</i></div>
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<b>Should Win: </b>N/A</div>
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I usually have seen at least one of the shorts in this category but not this year, though I'm interested in <i>Kitbull </i>and <i>Hair Love</i>. I've consulted the tea leaves and I think <i>Hair Love</i>'s got this one.</div>
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<b><br /></b><b><span style="font-size: large;">Best Live Action Short Film</span></b></div>
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<i>Brotherhood</i><br />
<i>Nefta Football Club</i><br />
<i>The Neighbors' Window</i><br />
<i>Saria</i><br />
<i>A Sister</i></div>
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<b>Will Win: </b><i>The Neighbors' Window</i></div>
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<b>Should Win: </b>N/A</div>
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The oddsmakers have this between <i>Brotherhood </i>and <i>The Neighbors' Window</i>. I'm going to go with the voters choosing the latter because it's American. This is a bit of a risk because it's got a fluffier premise and the live action short and documentary short categories tend to go to more serious fare, but it's a risk I'm willing to take.</div>
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<b><br /></b><b><br /></b><b><span style="font-size: large;">Best Documentary -- Short Subject</span></b></div>
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<i>In the Absence</i><br />
<i>Learning to Skateboard in a Warzone (If You're a Girl)</i><br />
<i>Life Overtakes Me</i><br />
<i>St. Louis Superman</i><br />
<i>Walk Run Cha-Cha</i></div>
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<b>Will Win: </b><i>Learning to Skateboard in a Warzone (If You're a Girl)</i></div>
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<b>Should Win:</b> N/A</div>
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A pure shot in the dark!</div>
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<b><span style="font-size: large;">Best Documentary -- Feature</span></b></div>
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<i>American Factory</i><br />
<i>The Cave</i><br />
<i>The Edge of Democracy</i><br />
<i>For Sama</i><br />
<i>Honeyland</i></div>
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<b>Will Win: </b><i>American Factory</i></div>
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<b>Should Win: </b>N/A</div>
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Again, I usually have seen one or two of these nominees but I was slacking last year. I'm very interested in <i>Honeyland</i> and I think it can pull off the win, but I don't know if it will have the power to beat out a documentary produced by the Obamas.</div>
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<b><br /></b><b><br /></b><b><span style="font-size: large;">Best International Feature Film</span></b></div>
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<i>Corpus Christi </i>(Poland)</div>
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<i>Honeyland </i>(North Macedonia)</div>
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<i>Les Miserables </i>(France)</div>
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<i>Pain and Glory</i> (Spain)</div>
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<i>Parasite </i>(South Korea)</div>
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<b>Will Win: </b><i>Parasite</i></div>
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<b>Should Win: </b><i>Parasite</i></div>
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I have no doubt in my mind that <i>Parasite</i> will win this one. Historically for the "Should Win," I put N/A if I've seen less than three nominees (I've only seen <i>Parasite </i>and <i>Pain and Glory</i>) but <i>Parasite</i> is so good I can't imagine liking any of the other nominees more.</div>
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<b><span style="font-size: large;">Best Animated Feature Film</span></b></div>
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<i>How to Train Your Dragon: The Hidden World</i><br />
<i>I Lost My Body</i><br />
<i>Klaus</i><br />
<i>Missing Link</i><br />
<i>Toy Story 4</i></div>
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<b>Will Win: </b><i>Toy Story 4</i></div>
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<b>Should Win: </b><i>Toy Story 4</i><br />
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Pixar has been a less sure bet these days than it used to be, but the <i>Toy Story </i>series is big and beloved enough to overcome that obstacle.</div>
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<b><span style="font-size: large;">Best Adapted Screenplay</span></b></div>
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<i>The Irishman</i>, Steven Zaillian</div>
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<i>Jojo Rabbit</i>, Taika Waititi</div>
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<i>Joker</i>;<i> </i>Todd Phillips and Scott Silver</div>
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<i>Little Women</i>, Greta Gerwig</div>
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<i>The Two Popes</i>, Anthony McCarten</div>
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<b>Will Win: </b><i>Jojo Rabbit</i></div>
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<b>Should Win: </b><i>Little Women</i></div>
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I'm already barfing at the thought of the cloying, toothless <i>Jojo Rabbit </i>script winning, especially when Greta Gerwig's deft <i>Little Women</i> adaptation is standing right there next to it.</div>
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<b><span style="font-size: large;"><br /></span></b><b><span style="font-size: large;">Best Original Screenplay</span></b></div>
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<i>Knives Out</i>, Rian Johnson<br />
<i>Marriage Story</i>, Noah Baumbach</div>
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<i>1917</i>, Sam Mendes and Krysty Wilson-Cairns<br />
<i>Once Upon a Time in Hollywood</i>, Quentin Tarantino</div>
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<i>Parasite</i>, Bong Joon-ho and Han Jin-won</div>
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<b>Will Win: </b><i>Once Upon a Time in Hollywood</i></div>
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<b>Should Win:</b> <i>Parasite</i></div>
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I like four of these scripts a great deal and would be fine with any of them winning. My favorite is <i>Parasite</i> and right now it's the favorite with the oddmakers, but the Academy <i>really</i> loves Tarantino when it comes to this category.</div>
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<b><br /></b><b><span style="font-size: large;">Best Supporting Actress</span></b></div>
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Kathy Bates, <i>Richard Jewell</i></div>
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Laura Dern, <i>Marriage Story</i></div>
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Scarlett Johansson, <i>Jojo Rabbit</i></div>
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Florence Pugh, <i>Little Women</i></div>
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Margot Robbie, <i>Bombshell</i></div>
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<b>Will Win: </b>Laura Dern</div>
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<b>Should Win: </b>Laura Dern</div>
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<b><br /></b>Thankfully for prediction's sake, the acting categories all seem to be locked up in the bag. So don't expect anyone other than Dern taking the statue home.</div>
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<span style="font-size: large;"><br /></span><b><span style="font-size: large;">Best Supporting Actor</span></b></div>
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Tom Hanks, <i>A Beautiful Day in the Neighborhood</i></div>
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Anthony Hopkins, <i>The Two Popes</i></div>
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Al Pacino, <i>The Irishman</i></div>
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Joe Pesci, <i>The Irishman</i></div>
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Brad Pitt, <i>Once Upon a Time in Hollywood</i></div>
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<b>Will Win: </b>Brad Pitt</div>
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<b>Should Win: </b>Brad Pitt</div>
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Hanks, Pacino, and Pesci all gave terrific performances, but the easygoing charm of Pitt's performance makes it the best in the category. And that wasn't even Pitt's best performance of 2019! (That belonged to <i>Ad Astra.</i>) What a year for the guy -- he deserves the award.</div>
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<b><span style="font-size: large;">Best Actress</span></b></div>
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Cynthia Erivo, <i>Harriet</i><br />
Scarlett Johansson, <i>Marriage Story</i></div>
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Saoirse Ronan, <i>Little Women</i></div>
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Charlize Theron, <i>Bombshell</i></div>
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Renee Zellweger, <i>Judy</i></div>
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<b>Will Win: </b>Renee Zellweger</div>
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<b>Should Win: </b>Saoirse Ronan</div>
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<i>Judy </i>feels like <i>The Wife </i>of this year, where it seems like everyone decided the central performance was award-worthy and then the momentum carried it, despite not alot of people having seen the film. I hope one day Saoirse Ronan can win, because she's incredible in <i>Little Women</i> and everything else.</div>
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<b><br /></b><span style="font-size: large;"><b>Best Actor</b></span></div>
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Antonio Banderas, <i>Pain and Glory</i></div>
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Leonardo DiCaprio, <i>Once Upon a Time in Hollywood</i></div>
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Adam Driver, <i>Marriage Story</i></div>
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Joaquin Phoeniz, <i>Joker</i></div>
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Jonathan Pryce, <i>The Two Popes</i></div>
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<br /></div>
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<b>Will Win: </b>Joaquin Phoenix</div>
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<b>Should Win: </b>Leonardo DiCaprio</div>
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Yeah, Phoenix is an absolute lock for this despite the fact that it's only a mid-tier performance from him (yeah I said it!!!).</div>
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<b><span style="font-size: large;">Best Director</span></b></div>
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Martin Scorsese, <i>The Irishman</i><br />
Todd Phillips, <i>Joker</i></div>
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Sam Mendes, <i>1917</i></div>
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Quentin Tarantino, <i>Once Upon a Time in Hollywood</i></div>
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Bong Joon-ho, <i>Parasite</i></div>
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<br /></div>
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<b>Will Win: </b>Sam Mendes</div>
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<b>Should Win: </b>Bong Joon-ho</div>
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<br /></div>
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It's wild to think that Sam Mendes might be a two-time Best Director winner after tonight but that's definitely where it looks like things are going. Though this is a pie-in-the sky-fantasy, it would be great if Bong Joon-ho managed to pull off the win. Anyone would be a worthy winner aside from Todd Phillips. Let's take a second to be outraged and baffled by him getting nominated over somebody like Greta Gerwig or Marielle Heller.</div>
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<b><br /></b><b><span style="font-size: large;">Best Picture</span></b></div>
<div style="text-align: left;">
<i>Ford v Ferrari</i><br />
<i>The Irishman</i><br />
<i>Jojo Rabbit</i><br />
<i>Joker</i><br />
<i>Little Women</i><br />
<i>Marriage Story</i><br />
<i>1917</i><br />
<i>Once Upon a Time in Hollywood</i><br />
<i>Parasite</i></div>
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<br /></div>
<div style="text-align: left;">
<b>Will Win: </b><i>1917</i></div>
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<b>Should Win:</b><i> Parasite</i><br />
<i><br /></i>My order of preference for the nominees are: 1. <i>Parasite</i>, 2. <i>Once Upon a Time in Hollywood</i>, 3. <i>The Irishman</i>, 4. <i>Little Women</i>, 5. <i>Marriage Story</i>, 6. <i>Ford v Ferrari</i>, 7. <i>1917</i>, 8. <i>Joker</i>, 9. <i>Jojo Rabbit</i>. Like I said, I think this will be a big night for <i>1917</i>, so look for it to take this one home. I'd be okay with anything as long as <i>Joker</i> or <i>Jojo Rabbit</i> don't win.</div>
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Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com0tag:blogger.com,1999:blog-2395748504986705619.post-22551075658954591232020-01-31T00:01:00.000-05:002020-02-09T12:22:47.703-05:00My 50 Favorite Television Shows of the Decade: 2010-2019<div class="separator" style="clear: both; text-align: center;">
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There was a problem facing television as a medium in the 2010s, and if you've been online or reading my year-end lists then you know what I'm talking about: there's too much damn TV. It's been an outright epidemic over the last 10 years, with new shows and delivery systems for those shows popping up at a rapid rate, far past anyone's ability to keep up with it all. Somebody once aptly described a TV critic's role as being more like a book critic's nowadays -- there's too much for one person to consume, so you have to make peace with that and curate your experience by finding a niche.<br />
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Unfortunately, the influx of TV also led to more <i>bad</i> shows. The rise of streaming and binge-watching has caused series to indulge in being nothing more than formless pieces of content. Sometimes it can feel like every writer who knows how to construct seasons, episodes, and even scenes died near the end of the previous decade. But the sheer magnitude of television in this decade means that there was still alot to love about television. This list chronicles the best of the best from the 2010s.<br />
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<b>The rules: </b>These eligibility rules are slightly more complicated than the ones for the other two lists, so read carefully. In order for a show to be eligible for this list, it has to have aired more than half of its total episodes within this decade. Also, only those episodes that aired in this decade are taken into consideration when placing and ranking that show. For example: <i>30 Rock</i> is eligible for consideration because 72 of its 138 episodes aired after January 1, 2010 -- that's 52% for all the mathematicians out there -- but the only episodes that determine if it can make the top 50 are Season 4 Episode 9 through Season 7 Episode 13 (the episodes that aired in the 2010s). Also, only continuing series are eligible for the top 50, while miniseries get their own mini list.<br />
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<b>My 20 Favorite Miniseries of the 2010s (alphabetical order)</b><br />
<i>Alias Grace</i> (Netflix, 2017)<br />
<i>America to Me </i>(Starz, 2018)<br />
<i>Gilmore Girls: A Year in the Life</i> (Netflix, 2016)<br />
<i>The Honourable Woman</i> (Sundance, 2014)<br />
<i>Howards End</i> (Starz, 2018)<br />
<i>The Jinx</i> (HBO, 2015)<br />
<i>Jules and Monty</i> (YouTube, 2014)<br />
<i>The Little Drummer Girl</i> (AMC, 2018)<br />
<i>Looking For Alaska </i>(Hulu, 2019)<br />
<i>Mildred Pierce </i>(HBO, 2011)<br />
<i>The Night Of</i> (HBO, 2016)<br />
<i>O.J.: Made in America</i> (ESPN, 2016)<br />
<i>Olive Kitteridge</i> (HBO, 2014)<br />
<i>The Pacific</i> (HBO, 2010)<br />
<i>Pantheon University</i> (YouTube, 2016)<br />
<i>The Romanoffs</i> (Amazon, 2018)<br />
<i>Sharp Objects</i> (HBO, 2018)<br />
<i>Show Me a Hero</i> (HBO, 2015)<br />
<i>Unbelievable</i> (Netflix, 2019)<br />
<i>Wolf Hall</i> (PBS, 2015)<br />
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<b>50. Fringe (Fox, 2008-2013)</b></div>
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There was a period around the turn of the decade where networks were greenlighting any genre show in an effort to find the next <i>Lost</i>, and while most of them were lost to the sands of time, one of the few winners was <i>Fringe</i>. The series modernized the formula popularized by <i>The X-Files</i>, alternating between freaky procedural stories and grander mythology episodes. And particularly in the episodes that aired in the 2010s, it used that tried-and-true format to create ambitious, emotional sci-fi.<br />
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<b><b>49. Review (Comedy Central, 2014-2017)</b></b></div>
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Comedy Central had a fantastic decade, giving shows to great creatives like Andy Daly and letting them see their vision through with minimal tinkering. And what a vision <i>Review</i> was -- a man on a mission to review life, pushed to lunacy in hilarious and disturbing ways.<br />
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<b><b>48. Barry (HBO, 2018-present)</b></b></div>
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Bill Hader has long been known as a big time cinephile, but he's finally been able to prove his bonafides with <i>Barry</i>, his Coen brothers meets 70s crime film riff on a hitman who tries to pursue acting. In its two seasons, the show has deftly balanced tones while interrogating the "bad man goes good" genre.<br />
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<b><b>47. Sym-Bionic Titan (Cartoon Network, 2010-2011)</b></b></div>
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Genndy Tartakovsky is one of American animation's masters, contributing to the defining style of millennial classics like <i>Samurai Jack, Dexter's Lab, </i>and <i>The Powerpuff Girls</i>; and his short-lived <i>Sym-Bionic Titan</i> was another classic of the medium, crafting a rich world with fascinating characters and impeccable style in just 20 episodes.<br />
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<b><b>46. The Handmaid's Tale (Hulu, 2017-present)</b></b></div>
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TV shows have to fight so hard to get watched that they can't afford to have any missteps or rough patches, so it's almost refreshing to have a great show be messy like they used to be. <i>The Handmaid's Tale</i> has long moved past the seminal Margaret Atwood novel its based on and it has often had questionable narrative choices and character motivations, but at its best it's such an expertly crafted, paced, and acted show that its faults feel like minor blemishes.<br />
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<b>45. Mr. Robot (USA, 2015-2019)</b></div>
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USA shook off its "blue skies television" image with the release of <i>Mr. Robot</i>, which blended <i>Fight Club</i> with Kubrick and spit out a highly serialized techno-thriller. The show could always be counted on for some gorgeous visual touches and trippy narrative gambits, but at its best it also tapped into that unsettling sensation of feeling isolated in our hyper-connected world.<br />
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<b><b>44. The Knick (Cinemax, 2014-2015)</b></b></div>
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For most of its history, television has been known as a writer's medium. With every single episode directed by the great auteur Steven Soderbergh, <i>The Knick</i> came along and blew that notion up completely. It had some great characters and solid writing, but the show was thrilling and disorienting because of how it used the camera to push the narrative forward in ways that still haven't been matched.<br />
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<b><b>43. My Mad Fat Diary (E4 [UK], 2013-2015)</b></b></div>
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Nowadays its legacy is being the show that introduced the world to <i>Killing Eve</i>'s Jodie Comer, but <i>My Mad Fat Diary</i> was a terrific series in its own right. For three seasons the show took us on a journey with Rae Earl, a girl with mental health and body image issues, as she learned how to love herself and the world around her. Not only was it a wonderful teen show and look at life in the 90s, it was also a genuinely therapeutic experience.<br />
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<b><b>42. The Good Wife/The Good Fight (CBS/CBS All Access, 2009-2015/2017-present)</b></b></div>
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With its morally compromised characters and complex long-running stories, <i>The Good Wife </i>injected new life into the network legal drama, a format many prestige TV viewers had thought they moved past. And its sequel series <i>The Good Fight</i> has done the same thing, using a sideways America to quietly tell some of the most fun, revolutionary political stories on CBS's obscure streaming network.<br />
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<b><b>41. Game of Thrones (HBO, 2011-2019)</b></b></div>
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Though it eventually crumbled under its own weight in that debacle of a final season, <i>Game of Thrones</i> was often a wonderfully ambitious thrill ride. It's easy to get lost in the weeds of complaining about minutiae, but popular blockbuster entertainment is rarely as good as this show was during its peak.<br />
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<b><b>40. Dear White People (Netflix, 2017-present)</b></b></div>
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Netflix's <i>Dear White People</i> takes on the same premise as the 2014 film of the same name, but irons out the flaws of its progenitor in its translation to the small screen. This hilarious, stylized campus comedy proves that sometimes the second time is the charm.<br />
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<b>39. It's Always Sunny in Philadelphia (FX, 2005-present)</b></div>
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Five full seasons of <i>It's Always Sunny in Philadelphia</i> aired pre-2010, and the show is so funny and consistent that it still qualifies as one of the best of this decade. To last this long, shows have to adapt, and seasons six through 14 have seen many changes for The Gang, and it's exciting to think of the different ways the series will make us laugh in the years to come.<br />
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<b><b>38. Better Things (FX, 2016-present)</b></b></div>
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When it first started, it was hard for <i>Better Things </i>to shake off comparisons to its spiritual predecessor <i>Louie</i>, but it quickly blossomed into its own form of greatness. Three seasons in, it's one of the most soulful, electric shows we've got.<br />
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<b><b>37. Degrassi: Next Class (Netflix, 2016-2017)</b></b></div>
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<i>Degrassi</i> as a franchise is a teen institution, and it may have come to an end for a while with the premature conclusion of its Generation Z reboot, <i>Next Class</i>. But at least it went out feeling as vital as ever, telling emotional, refreshingly modern stories with its fun cast of characters.<br />
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<b>36. Big Little Lies (HBO, 2017-2019)</b></div>
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Rounding up Reese Witherspooon, Nicole Kidman, Shailene Woodley, Laura Dern, Zoe Kravitz, and eventually Meryl Streep on the same show together was a big flex on HBO's part. And they could have just rested on that accomplishment alone. But <i>Big Little Lies</i> was not just a cash-in, it was a soulful exploration of female pain, collective trauma, and how we heal.<br />
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<b><b>35. Jane the Virgin (The CW, 2014-2019)</b></b></div>
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Most people think they won't like a telenovela named <i>Jane the Virgin</i>, but that's the magic of the show. Come in skeptical and leave blown away by this hilarious, inventive, fast-paced, and heartfelt send-up to one of television's most unsung genres.<br />
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<b><b>34. Ping Pong the Animation (Fuji TV [Japan], 2014)</b></b></div>
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For all of his technical prowess, Masaaki Yuasa creations can feel a little cold, so concerned with chasing experimental flights of fancy that they forget about emotional grounding. That's why <i>Ping Pong</i> was so particularly impressive. With this off-kilter sports anime, he finally found a rich, involving story to match his wild animation style.<br />
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<b><b>33. Terriers (FX, 2010)</b></b></div>
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In FX's dogfighting epic...okay, just kidding. Confusion over the title led to people missing out on a series bursting with potential, this shaggy, surf-noir detective drama. <i>Terriers</i> felt like a show without trepidation, unafraid to trap its characters in tight corners of morality but also unafraid to have a good time while doing so. It may not have been about canines in a literal sense, but the magical quality of this tale of underdogs still lingers.<br />
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<b><b>32. Broad City (Comedy Central, 2014-2019)</b></b></div>
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TV has a long legacy of great comedy duos, and <i>Broad City</i>'s Abbi and Ilana easily join those ranks. Over the show's five years, it invited us to fall in love with their friendship, watching them go on riotously funny adventures through New York, as they slouched towards adulthood. In an era where comedies have become increasingly jokeless, <i>Broad City</i> proved you didn't have to sacrifice laughs for heart.<br />
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<b><b>31. Girls (HBO, 2012-2017)</b></b></div>
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With all of Lena Dunham's offscreen obnoxiousness during and after the run of <i>Girls</i>, it's easy to forget just how good the show was. Not only was it always more self-aware than it was given credit for, its insularity contributed to the specificity of the New York twenty-something life it examined. Like them or not, there's no denying that the characters of <i>Girls </i>were fully-realized, and it was fun to see their tics and insecurities crash into each other.<br />
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<b><b>30. Better Call Saul (AMC, 2015-present)</b></b></div>
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There was alot of great television this past decade, but there were few shows that made it look as easy as the <i>Better Call Saul</i> team consistently does. It's an assembly of people who know good TV in their bones, and they come together for a masterclass of writing, directing, acting, and construction. Everybody thought this show was an unwise decision when it was first greenlit, but it has continued to exceed our expectations.<br />
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<b><b>29. Crazy Ex-Girlfriend (The CW, 2015-2019)</b></b></div>
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A musical comedy about mental illness on The CW shouldn't have worked. But for four glorious seasons, co-creator/star Rachel Bloom helped do just that, giving us a perfect mixture of moving drama, hilarious comedy, and incredibly catchy songs.<br />
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<b><b>28. Space Dandy (Adult Swim, 2014)</b></b></div>
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With pantheon series like <i>Cowboy Bebop</i> and <i>Samurai Champloo</i> under his belt, Shinichiro Watanabe is anime's leading purveyor of cool. While the goofy romp <i>Space Dandy </i>doesn't share any similarities with those works, it was cool in its own way. Watanabe used his legendary status to assemble his most talented animator, director, and writer friends together to try something new every week. The result is one of the most brilliant, zany, impressive anime of the century.<br />
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<b><b>27. Parks and Recreation (NBC, 2009-2015)</b></b></div>
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Though it got a little too in love with its own niceness towards the end -- something that all shows created by Mike Schur suffer from -- the peak of <i>Parks and Recreation</i> represents the best that sitcoms had to offer in the 2010s.<br />
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<b><b>26. Black Mirror (Channel 4 [UK]/Netflix, 2011-present)</b></b></div>
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Before <i>The Twilight Zone</i> itself was rebooted earlier last year, <i>Black Mirror</i> served as this generation's version of the anthology classic. Like all episodic anthologies, not every installment is a masterpiece, but at its best the show offers up excellent stories about technology and the way humanity is shaped by it.<br />
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<b>25. Please Like Me (Pivot, 2013-2016)</b></div>
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I don't tend to respond to warm and fuzzy art, but sometimes a show like the brilliant, breezy Australian import <i>Please Like Me</i> is able to sneak past my defenses. It helps that it always tended to cut the fluff with some sobering depictions of mental illness and growing up in the tumult of your 20s.<br />
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<b><b>24. Enlightened (HBO, 2011-2013)</b></b></div>
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As the decade progressed, cancellations of beloved and critically acclaimed shows became less common. One of the last real heartbreakers was <i>Enlightened</i>, HBO's chronicle of one woman's spiritual and ethical journey after suffering from a public mental collapse and the humiliation that came with it. It may have ended before its time, but what we got was a finely-sculpted 18 episode gem.<br />
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<b><b>23. American Crime Story (FX, 2016-present)</b></b></div>
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It's fitting that Ryan Murphy, the man who introduced the seasonal anthology to the modern age in the form of <i>American Horror Story</i>, perfected it with <i>American Crime Story</i>. <i>The People v. O.J. Simpson </i>was a riveting pop culture sensation and <i>The Assassination of Gianni Versace</i> was a less immediate, but more challenging follow-up. The door is wide open for great new stories in the next decade.<br />
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<b><b>22. The Legend of Korra (Nickelodeon, 2012-2014)</b></b></div>
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<i>Avatar: The Last Airbender</i> was one of the very best shows of the previous decade, and the folks behind it pulled off the same thing this decade with its sequel series. Though it was more mature, less sprawling, and sometimes had its hiccups, it delivered the same inventive thrills and moving character arcs.<br />
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<b><b>21. The Marvelous Mrs. Maisel (Amazon, 2017-present)</b></b></div>
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Amazon became more and more evil as a corporation throughout the decade, but even they managed to point their money in the direction of good a few times. A few years ago, who would have thought that an idiosyncratic creator like Amy Sherman-Palladino would be given the keys to the kingdom, with unlimited resources to make a screwball comedy with expensive sets, lavish costumes, and eye-popping locales? <i>The Marvelous Mrs. Maisel</i> truly feels like a gift.<br />
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<b><b>20. Fresh Meat (Channel 4 [UK], 2011-2016)</b></b></div>
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<i>Fresh Meat</i> pulled off the great trick of making a hangout comedy populated by total jerks, proving that if they're hilarious enough, sometimes the most lovable characters are the ones you'd hate in real life.<br />
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<b><b>19. Treme (HBO, 2010-2013)</b></b></div>
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How do you follow up a singular television landmark like <i>The Wire</i>? For David Simon, the answer was to dive down another regional rabbit hole, making a shaggy, digressive hangout drama about post-Katrina New Orleans. Some may have been put off by <i>Treme</i>'s initial lack of <i>Wire </i>sensibilities, but space away from its ending has revealed a magical sense of people and places that feels like quintessential Simon.<br />
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<b><b>18. Parenthood (NBC, 2010-2015)</b></b></div>
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Providing heartfelt family drama better than and before <i>This is Us</i>, <i>Parenthood</i>'s mushiness hid the smart storytelling at the core of the show. Great shows come in all shapes and sizes, and this one stood out when so many of the decade's other shows were edgy prestige dramas.<br />
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<b>17. Hannibal (NBC, 2013-2015)</b></div>
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There are still people who are holding out hope for there being some kind of continuation for Bryan Fuller's Grand Guignol examination of murder and male friendship. Only a show this strange, this hypnotic, this artful in its extremity could inspire a fervor and passion like that.<br />
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<b>16. The Deuce (HBO, 2017-2019)</b></div>
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While so many of his peers from the previous decade retreated from public attention, David Simon spent the 2010s giving us one sublime series after another. <i>The Deuce</i> was tactile and sumptuous in a way that only Simon shows seem capable of being, painting New York as it transitioned from the 70s to the 80s with a million little brushstrokes. It felt like the entire range of human emotions and experiences was contained in this one show.<br />
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<b><b>15. The Eric Andre Show (Adult Swim, 2012-present)</b></b></div>
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With the appeal of the traditional late-night show dwindling at a rapid rate, its bizarro world Adult Swim interpretation was born in the form of <i>The Eric Andre Show</i>. Its anarchic spirit would be exhausting if it wasn't so damn funny.<br />
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<b><b>14. The Magicians (Syfy, 2015-present)</b></b></div>
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One of the best shows of this decade actually cribs from decades past. The spirit of <i>Buffy</i> is alive and well in <i>The Magicians</i>, which has been applying the former's go-for-broke genre sensibility and deft balance of the serialized/self-contained ratio for four glorious seasons and counting now.<br />
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<b><b>13. The Girlfriend Experience (Starz, 2016-present)</b></b></div>
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It's too early to tell whether <i>The Girlfriend Experience</i> will have ushered in a new age of television, but this avant-garde exploration of sex work was radical and enigmatic in ways that point to a path forward for original storytelling.<br />
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<b><b>12. Rectify (Sundance, 2013-2016)</b></b></div>
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<i>Rectify</i> was not a show about religion, but it felt divine nonetheless. The series followed a man's journey after being released from death row, and along the way it offered some of the most gracious, downright healing storytelling that's ever appeared on the small screen.<br />
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<b><b>11. Justified (FX, 2010-2015)</b></b></div>
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There's a tendency towards equating quality with seriousness, but <i>Justified</i> dispelled any notions of that correlation. For six seasons it was one of the greatest <i>and</i> most entertaining dramas airing. Its densely populated world of Harlan County, Kentucky was full of rich, colorful characters, and it used them to spin out a perfect balance of serialized narrative and weekly storytelling.<br />
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<b><b>10. Orange is the New Black (Netflix, 2013-2019)</b></b></div>
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It's easy to talk about <i>Orange is the New Black</i> in terms of its importance, what with its role in helping to usher in today's streaming age and its forefronting of women's stories that we didn't often see on television before. But what a wonderful piece of pure television it was, featuring dense storylines that crested beautifully and an endless supply of complicated characters who lit up every scene. When many of its peers could only manage to be one, this series was a sterling example of both importance <i>and </i>greatness.<br />
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<b><b>9. Atlanta (FX, 2016-present)</b></b></div>
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<i>Atlanta</i> only has 20 episodes to its name, but this often experimental and always hilarious show feels so fresh and revolutionary that it demands a placement like this. Put aside any misgivings you may have about Donald Glover, because this show is too brilliant to ignore.<br />
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<b><b>8. Breaking Bad (AMC, 2008-2013)</b></b></div>
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<i>Breaking Bad</i> chronicled the rise and fall of Walter White, and in this decade we got to see the dominoes fall in thrilling fashion. It may not have thematic heft of some of its peers, but the show will be remembered as one of the best at plot construction and tension generation.<br />
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<b>7. Succession (HBO, 2018-present)</b></div>
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Just when we thought every avenue of television about the rich had been explored, HBO showed us how wrong we were with the fire-breathing tragicomedy that is <i>Succession</i>. It operates on such a high level of pleasure that it's easy to miss just how well structured its narrative is, constantly laying the dynamite and detonating its big moments at the perfect time.<br />
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<b><b>6. Halt and Catch Fire (AMC, 2014-2017)</b></b></div>
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With so many TV options out there, people are less inclined to wait around for a show to become great, which may have caused them to miss out on <i>Halt and Catch Fire</i>. The first season was more solid than it gets credit for, but its next three seasons are where it truly becomes pantheon-level. It's a show about digital connection that also was one of the best depictions of the beauty of human connection.<br />
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<b><b>5. The Americans (FX, 2013-2018)</b></b></div>
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In a decade that increasingly became centered around large-scale, moment-based storytelling, <i>The Americans</i> stood out for its small, assured confidence. The FX Cold War spy drama proved that with the proper craft, tiny moments can accumulate into something seismic.<br />
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<b><b>4. Nathan For You (Comedy Central, 2013-2017)</b></b></div>
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Nathan Fielder is more than a funny person, he's a magician. The segments of his comedic business advice show often unfolded like a beautiful trick, featuring left field escalations and hilarious surprises. And like a good magician, he knew just when to end it, leaving us with four seasons of pure, untarnished comedy gold.<br />
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<b><b>3. Twin Peaks (Showtime, 2017)</b></b></div>
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Perhaps the most singular piece of television of the decade, <i>Twin Peaks: The Return</i> may stand as David Lynch's last artistic statement. And what a bewitching, despairing howl it was.<br />
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<b><b>2. Bunheads (Freeform/ABC Family, 2012-2013)</b></b></div>
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Sometimes it hurts thinking about how legendary Amy Sherman-Palladino's ballet dramedy could have been if it had lasted a little longer. But what we got was the era's greatest one season wonder, a dazzling mix of fast-paced dialogue and slow-burning emotional heft.<br />
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<b><b>1. Mad Men (AMC, 2007-2015)</b></b></div>
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Though seasons four through seven were the ones that ran in this decade, their quality is more than enough to classify <i>Mad Men</i> as the best television show of the decade. You won't find a series that's more lively and lyrical than Matthew Weiner's look at the 60s through the lens of the advertising world.<br />
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Farewell to a decade of television. Leave your thoughts below, as well as any lists you may have. If you want to read a longer ranked list of shows that missed the cut, as well as some more data, you can find it on <a href="https://docs.google.com/document/d/1vmVY4Kfen5HiN3iUEttDgPETaai7E0O1rkkDw7ndPJg/edit?usp=sharing">this Google doc</a>.Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com2tag:blogger.com,1999:blog-2395748504986705619.post-21134321368413393922020-01-30T00:01:00.000-05:002020-05-16T10:11:28.502-04:00My 50 Favorite Films of the Decade: 2010-2019<div class="separator" style="clear: both; text-align: center;">
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I was a bit of a latecomer to loving movies. I first got really interested in film around 2007 when I was a teen, but it wasn't until the start of this decade that I truly started watching films avidly. And as the definition of who can make movies and how they can make them has expanded, there has been so much cinema to consume, and I've tried my best to soak it all up. There are still blindspots on my list -- I wish there were more international films on it, as well as films directed by women and people of color -- but I think it still represents many different genres and styles.<br />
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<b>The rules: </b>My albums list had a limit of only one album per act, but that felt a little restrictive for films, so I loosened it up to have a maximum of two films per director. There are a few examples of that on this list. Did I make the right choice? Who can say, I love my auteurs! A small change from my year end lists is that I always use the American theatrical release date of a film to determine its eligibility. Since that's a little harder to track and remember as time goes by, I'm just going by the year listed on IMDB, which will sometimes be the year before the theatrical release if the movie premiered at a festival. With that in mind, the eligibility window is a world premiere between January 1, 2010 and December 31, 2019. This doesn't factor in often, but one example is <i>Dogtooth</i>, which had a theatrical release in 2010 but is not eligible because its world premiere was in 2009.<br />
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<b>20 Honorable Mentions (alphabetical order)</b><br />
<i>Ad Astra</i> (2019, Directed by James Gray)<br />
<i>Another Year</i> (2011, Directed by Mike Leigh)<br />
<i>Columbus</i> (2017, Directed by Kogonada)<br />
<i>Ex Machina</i> (2014, Directed by Alex Garland)<br />
<i>Get Out </i>(2017, Directed by Jordan Peele)<br />
<i>Little Birds</i> (2011, Directed by Elgin James)<br />
<i>Mistress America</i> (2015, Directed by Noah Baumbach)<br />
<i>Mustang</i> (2015, Deniz Gamze Erguven)<br />
<i>Nymphomaniac </i>(2013, Directed by Lars von Trier)<br />
<i>Personal Shopper</i> (2016, Directed by Olivier Assayas)<br />
<i>Scott Pilgrim vs. the World</i> (2010, Directed by Edgar Wright)<br />
<i>Somewhere</i> (2010, Directed by Sofia Coppola)<br />
<i>Snowpiercer</i> (2013, Directed by Bong Joon-ho)<br />
<i>Spring Breakers</i> (2012, Directed by Harmony Korine)<br />
<i>Two Days, One Night</i> (2014, Directed by Jean-Pierre and Luc Dardenne)<br />
<i>Under the Silver Lake</i> (2018, Directed by David Robert Mitchell)<br />
<i>Us</i> (2019, Directed by Jordan Peele)<br />
<i>War Horse</i> (2011, Directed by Steven Spielberg)<br />
<i>The Wolf of Wall Street</i> (2013, Directed by Martin Scorsese)<br />
<i>The World's End </i>(2013, Edgar Wright)<br />
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<b>50. The Act of Killing (2012, Directed by Joshua Oppenheimer)</b></div>
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Great documentarians know the right moments to probe their subjects and when to just sit and let the camera do its thing. Joshua Oppenheimer displays both gifts masterfully, as he follows around a crew of men who used to be a part of the Indonesian execution squads responsible for mass killings in the 1960s. The harrowing information and emotions he unearths makes for difficult but ultimately important cinema.<br />
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<b><b>49. Anomalisa (2015, Directed by Charlie Kaufman)</b></b></div>
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When I first saw this movie, I described it as "like Charlie Kaufman deciding to adapt a Chris Ware comic that doesn't actually exist." If that alone doesn't justify its place on this list, I don't know how to help you.<br />
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<b>48. Victoria (2015, Directed by Sebastian Schipper)</b></div>
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Shooting a movie in one continuous take seems like a cheap gimmick. But in the case of <i>Victoria</i>, it enhances this story of young people involved in a whirlwind night gone wrong. The fact that it never lets the viewer take a break from the reality of the moment is the key to making it such a thrilling ride.<br />
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<b><b>47. The Raid (2011, Directed by Gareth Evans)</b></b></div>
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Do you love action movies but find yourself getting impatient during the bits between the punching? Well <i>The Raid</i> is the film for you. Not only does it cut away every inch of fat to give you almost non-stop fighting, but the actual fighting it does give you is some of the most brutal, masterfully choreographed action ever put onscreen.<br />
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<b><b>46. The Social Network (2010, Directed by David Fincher)</b></b></div>
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Film is generally known as a director's medium, but <i>The Social Network</i> belongs in equal part to writer Aaron Sorkin and director David Fincher. The former's tight, memorable dialogue and the latter's precise shot composition melds to create a portrait of a difficult man and his era-defining creation with a level of depth that rises above the rote parameters of your standard biopic fare.<br />
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<b>45. They Came Together (2014, Directed by David Wain)</b></div>
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<i>Wet Hot American Summer</i> was the ultimate camp movie parody, and most of the gang involved with that did the same again for romcoms with <i>They Came Together</i>. The daffy style of comedy on display here is not for everyone, but for those who key into its Dadaist joke construction and absurd plotting, it's sublime.<br />
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<b>44. Meek's Cutoff (2010, Directed by Kelly Reichardt)</b></div>
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Playing <i>Oregon Trail</i> was harrowing enough, but <i>Meek's Cutoff</i> makes the famous trek to the future Beaver State seem like even more of an arduous task. Kelly Reichardt's neo-western shows off her usual formal rigor terrifically in this tense, simmering tale of mistrust and hardship.<br />
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<b><b>43. It Follows (2014, Directed by David Robert Mitchell)</b></b></div>
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The Carpenter-esque mastery of sight and sound in <i>It Follows</i> is chilling enough, but it's the anxieties about youth, sex, and death that make it such a transcendent horror movie.<br />
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<b>42. Frances Ha (2012, Directed by Noah Baumbach)</b></div>
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Noah Baumbach had always been incisive and razor-sharp in examining his characters, but there's an extra buoyancy to the films he's made with Greta Gerwig. <i>Frances Ha</i> is their best work yet, a funny and moving ode to being in your 20s and not quite having it all figured out.<br />
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<b>41. The Immigrant (2013, Directed by James Gray)</b></div>
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The slow death of the mid-budget adult drama has been creeping onward for the last few years, but its last gasp has still produced some all-timers. Take James Gray's <i>The Immigrant</i>, a fascinating and layered tale of a woman who's willing to risk it all to make it in America after arriving on Ellis Island. The film's complexities are involving at every turn, culminating in a final shot for the ages.<br />
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<b><b>40. Short Term 12 (2013, Directed by Destin Daniel Cretton)</b></b></div>
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<i>Short Term 12</i> may be the <i>Dazed and Confused</i> of its era, in that it's amazing to think about how much success everyone in it -- director Destin Daniel Cretton, stars Brie Larson, Lakeith Stanfield, Rami Malek, Kaitlyn Dever, and Stephanie Beatriz -- has had since, but also because the film itself is such a perfect moment in time.<br />
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<b><b>39. Ricki and the Flash (2015, Directed by Jonathan Demme)</b></b></div>
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This list is full of films that have and will show up on other people's decade lists, so <i>Ricki</i> might be the biggest outlier. Jonathan Demme's collaboration (in his final narrative film before his death) with Diablo Cody received a middling response, which is a real shame, because it shouldn't be missed. It's a messy and soulful work about family relationships strained by years of mistakes and failures, and the difficult journey to forgiveness.<br />
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<b><b>38. Mission: Impossible -- Fallout (2018, Directed by Christopher McQuarrie)</b></b></div>
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Like the smiling Scientologist star at its center, the <i>Mission: Impossible</i> series will not die. Over the course of six films, it has grown more confident and audacious, culminating in <i>Fallout</i>, a setpiece delivery machine that is a landmark in American action cinema.<br />
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<b><b>37. Widows (2018, Directed by Steve McQueen)</b></b></div>
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<i>Widows </i>could've just been a distaff version of the conventional, gritty heist flick and it would have been a solid movie. However, it elevates itself by being a portrait of a city and its people titled off their axis, giving the heist much more stakes and flavor in the process.<br />
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<b>36. Little Women (2019, Directed by Greta Gerwig)</b></div>
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Louisa May Alcott's classic novel got another retelling, and this one deserves to be considered a classic in its own right. The 2019 adaptation feels so fresh and warm and simply alive, finding new angles to the story and operating with an agility that's become a signature in all of the films Greta Gerwig has worked on. <i>Little Women </i>has a way of sneaking up on viewers, moving you in ways you don't even realize until you're completely shattered.</div>
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<b><b>35. Night is Short, Walk on Girl (2017, Directed by Masaaki Yuasa)</b></b></div>
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The best animated films tell stories in a way only its specific medium can, and <i>Night is Short, Walk on Girl</i> is a fantastic example of that. Gonzo auteur Masaaki Yuasa uses the malleability of animation to joyous effect, while telling the hilarious and sneakily philosophical story of intersecting lives during one night in Japan.<br />
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<b><b>34. Enough Said (2013, Directed by Nicole Holofcener)</b></b></div>
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James Gandolfini was one of our greatest actors, and it's still a tragedy that he's not with us anymore. But at the very least, he gave us one last pantheon performance in <i>Enough Said</i>. The film is the work of three greats -- Gandolfini, comedy legend Julia Louis-Dreyfus, and indie genius Nicole Holofcener -- fusing beautifully in this tender romantic comedy meets slow-speed farce.<br />
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<b>33. The Tree of Life (2011, Directed by Terrence Malick)</b></div>
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Previously known for the long periods between his films, Terrence Malick became downright prolific this decade. <i>Tree of Life</i>, the work that kicked off this fertile period, is still his best: an almost religious rumination on grace, chaos, and the way they wrestle with one another throughout the universe.<br />
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<b>32. Moonlight (2016, Directed by Barry Jenkins)</b></div>
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In its journey through the life of Chiron from childhood to adulthood, <i>Moonlight</i> examines masculinity, queerness, and blackness with an astonishing level of intimacy and passion. It's a film that radiates beauty from every inch of the frame.<br />
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<b><b>31. The Nice Guys (2016, Directed by Shane Black)</b></b></div>
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Rewatchability is an underrated quality when it comes to assessing movies. Sure, incredible films can exist as a once-and-never-again experience, but there's something wonderful about a film that gives you joy over and over again. Buddy cop noir comedy <i>The Nice Guys</i> might be the most rewatchable film of the 2010s -- its chaotic series of incidents and loony interplay between its leads gets more entertaining each time around.<br />
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<b><b>30. Looper (2012, Directed by Rian Johnson)</b></b></div>
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Time travel narratives are endeavors only for those who are extremely brave or extremely foolish, but Rian Johnson had the confidence and style to pull off a great one with <i>Looper</i>. And dorks still nitpicked the logic of it!<br />
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<b><b>29. First Reformed (2017, Directed by Paul Schrader)</b></b></div>
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Paul Schrader already gave us the definitive film about a man whose loneliness turns to madness in 1976 when he wrote <i>Taxi Driver</i>, but <i>First Reformed</i> is its spiritual cousin, updated to reflect today's anxieties. It's an absolutely despairing film, but its unflinching bleakness is what makes it so brilliant.<br />
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<b>28. The Irishman (2019, Directed by Martin Scorsese)</b></div>
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Let's hope Martin Scorsese has many more films left in him, but if it had to be, <i>The Irishman</i> would be a hell of a closing statement. For the first time in a while, Scorsese returned to a genre responsible for so many of his previous classics and gave it the heaviness of a full life lived and years of crucial decisions and regrets. Haunting and spellbinding all at once, <i>The Irishman</i> will be admired for years to come like the epics of Classic Hollywood.</div>
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<b>27. Once Upon a Time in Hollywood (2019, Directed by Quentin Tarantino)</b></div>
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<i>Once Upon a Time in Hollywood</i> is an entire buffet and you can pick what you want from it. You can enjoy it as an ode to the golden age of Hollywood, a wistful musing on aging and obsolescence, a caustic revision of history, a luxuriation on the pure art of writing and acting, or some combination of those options. Not every movie feels like such a complete ecosystem, but Tarantino's latest does so with an enviable ease.<br />
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<b><b>26. Lady Bird (2017, Directed by Greta Gerwig)</b></b></div>
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There's a reason why so many people's entire personality has become liking <i>Lady Bird</i>. It's because it feels like such a special and personal work, one of the most artful, charming, and fleet-footed coming-of-age films we've ever gotten.<br />
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<b><b>25. Please Give (2010, Directed by Nicole Holofcener)</b></b></div>
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All of Nicole Holofcener's films are about people wrestling with themselves, and <i>Please Give</i> offers her most compelling spin on that, tackling her pet themes of personal image, communication, and sisterhood while also telling a tale about what it truly means to be charitable.<br />
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<b><b>24. Whiplash (2014, Directed by Damien Chazelle)</b></b></div>
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With each film, Damien Chazelle establishes himself more firmly as one of Hollywood's most talented directors, but his best work so far is still the one that first broke him through. <i>Whiplash</i> is a pummeling experience not just because of Chazelle's assured direction, but the twin dragon forces of Miles Teller and JK Simmons playing out a riveting physical and psychological duel.<br />
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<b><b>23. Manchester By the Sea (2016, Directed by Kenneth Lonergan)</b></b></div>
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One of the most powerful things about cinema is that it can transport us to different worlds, but sometimes it can also provide insight into real life. <i>Manchester By the Sea</i> is a fantastic example of that. It's stacked with tragedy, telling a story about a man with a dark past who must take care of his nephew after his brother dies, and it feels not melodramatic but achingly human. That ability to find the truthful emotion at the core of any situation makes Kenneth Lonergan one of the greatest dramatists in the world right now.<br />
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<b><b>22. Paterson (2016, Directed by Jim Jarmusch)</b></b></div>
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It's fitting that <i>Paterson</i> centers around a man who writes poetry, an artform that can feel a little ineffable, because the quality of this film can be hard to nail down in words. On the surface, it's uneventful, but it moves with a quiet grace, unearthing beauty and depth in the mundane.<br />
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<b>21. The Edge of Seventeen (2016, Directed by Kelly Fremon Craig)</b></div>
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The 2010s saw an influx of coming-of-age movies about teenage white girls, but thanks to Hailee Steinfeld's superstar performance as the endlessly layered Nadine, <i>The Edge of Seventeen</i> was the best of the bunch.<br />
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<b><b>20. Inside Llewyn Davis (2013, Directed by The Coen Brothers)</b></b></div>
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If you had to pick a film that epitomizes each of the four seasons, <i>Inside Llewyn Davis</i> would certainly be a top choice for winter. Though it might be the most downcast of the Coen Brothers' work, this Homeric tale of a struggling musician might be their best as well.<br />
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<b><b>19. Gone Girl (2014, Directed by David Fincher)</b></b></div>
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There's something about the combination of the meticulousness of David Fincher's directorial style with the airport fiction stories he chooses to work with that creates such a perfect blend. <i>Gone Girl</i> is by far his best marriage of those contrasts, a twisty treat that riffs on everything from gender roles, to the American media complex, to the prison of married life.<br />
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<b>18. If Beale Street Could Talk (2018, Directed by Barry Jenkins)</b></div>
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How do you follow up your masterpiece? For Barry Jenkins, the move was to show people his <i>real</i> masterpiece. Though it may not have received the fanfare of <i>Moonlight</i>, <i>If Beale Street Could Talk</i> is a gorgeous refinement of Jenkins' woozy intimacy.<br />
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<b><b>17. Certain Women (2016, Directed by Kelly Reichardt)</b></b></div>
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<i>Certain Women</i> found America's most unsung director trying her hand at a series of short stories, which only allowed her to pack even more quiet grace into the frame. Some called it minor, but it feels more like a minor miracle.<br />
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<b><b>16. Support the Girls (2018, Directed by Andrew Bujalski)</b></b></div>
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It's hard to make the struggles of the working class feel fun to watch, but <i>Support the Girls</i> turns the ins and outs of working at a "breastaurant" into a screwball comedy. Never has the soul-crushing experience of being at a dead-end job felt so joyous.<br />
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<b><b>15. Star Wars Episode VIII: The Last Jedi (2017, Directed by Rian Johnson)</b></b></div>
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<i>The Force Awakens </i>delivered us pleasures by reminding us what we love about the <i>Star Wars</i> franchise, but <i>The Last Jedi</i> astounded because it gave us what we didn't know we needed. Rian Johnson's turn behind the wheel was more nuanced, character-focused, and thoughtfully explored what it means to wield The Force. It created a deep schism within the fandom, but challenging works often do.<br />
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<b>14. Toy Story 3 (2010, Directed by Lee Unkrich)</b></div>
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Though time has had some different ideas, in 2010 it seemed like <i>Toy Story 3</i> was the conclusion of the saga of Woody and friends. And what better way to send off the series that put Pixar on the map than by doing what they do best, providing a nimble and wrenching ode to growing up.<br />
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<b>13. Sicario (2015, Directed by Denis Villeneuve)</b></div>
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Sometimes a movie feels like the perfect synthesis of its component parts. That's what happened in 2015 when director Denis Villeneuve, cinematographer Roger Deakins, screenwriter Taylor Sheridan, and actress Emily Blunt joined forces to make the high-art crime classic that is <i>Sicario</i>. The less said about its sequel, the better though.<br />
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<b><b>12. Annihilation (2018, Directed by Alex Garland)</b></b></div>
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The pure sensory experience of seeing <i>Annihilation</i> in theaters left an imprint that remains to this day. But it's the tightness of its script and ideas that makes this modern sci-fi classic hold up on repeated viewings.<br />
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<b>11. Parasite (2019, Directed by Bong Joon-ho)</b></div>
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Class conflict was the topic on everyone's mind as the decade came to a close, and it bled into cinema as a result. Bong Joon-ho's <i>Parasite</i> was the best of the bunch by far, channeling that sense of social unrest into his unpredictable thriller of the haves and the have nots. The film pulls off the impossible with ease, simultaneously unleashing elegant visual moves to convey its themes while also being a riot on a pure entertainment level.</div>
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<b><b>10. The Hateful Eight (2015, Directed by Quentin Tarantino)</b></b></div>
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Quentin Tarantino has long been one of the premiere writers of dialogue, and this near-three hour parlor room sequence was the perfect vehicle for his skills. The beautiful way that words fly in <i>The Hateful Eight</i> was a given, but the way its old-western nastiness reflected the mood of our time continues to surprise with how much it sticks with you.<br />
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<b><b>9. Inside Out (2015, Directed by Pete Docter)</b></b></div>
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Just when people thought Pixar had lost it, they came back with one of their best efforts ever with <i>Inside Out</i>. What remains stunning is its tonal balance, effortlessly flitting between the joy of its imagination and the sadness of its look at the internal life of a preteen girl.<br />
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<b><b>8. Boyhood (2014, Directed by Richard Linklater)</b></b></div>
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Yes yes, <a href="https://www.youtube.com/watch?v=JzhpbXQDl6g">it took 12 years to make</a>, but pointing to that fact as if that's only reason why people praise it is a reductive assessment that's poisoned a portion of the internet. The scope of <i>Boyhood</i> is impressive but it's Linklater's eye for the small moments that occur in the process of growing up that makes the movie resonate with so many filmgoers.<br />
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<b><b>7. Stories We Tell (2012, Directed by Sarah Polley)</b></b></div>
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All movies are in some ways a reflection of the filmmaker's soul, but Sarah Polley made that even more blatant with her gorgeous family portrait/documentary hybrid. <i>Stories We Tell</i> provides some moving introspection regarding Polley's own lineage, but it also unearths some fascinating general ideas about family, perspective, and the things we tell ourselves and others in order to make sense of it all.<br />
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<b><b>6. Mad Max: Fury Road (2015, Directed by George Miller)</b></b></div>
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Every generation has an action movie that completely changes the game, and <i>Mad Max: Fury Road</i> is just carrying the legacy of <i>Raiders of the Lost Ark</i> and <i>Terminator 2</i> before it. Filmmakers are still trying to catch up to the glorious symphony of bodies and machines that George Miller concocted five years ago.<br />
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<b><b>5. Inherent Vice (2014, Directed by Paul Thomas Anderson)</b></b></div>
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Paul Thomas Anderson's adaptation of Thomas Pynchon's <i>Inherent Vice</i> had such a languid and hazy vibe that many people didn't mesh with it initially. But hopefully now that its buzz has settled in, everyone can appreciate it for the electric, gorgeous, deeply somber gem that it is.<br />
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<b>4. Phantom Thread (2017, Paul Thomas Anderson)</b></div>
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With every new film, Paul Thomas Anderson sheds off the reckless abandon of his wunderkind days and becomes more controlled and austere. He brought his A-game once again as he teamed with Daniel Day Lewis for the latter's swan song from acting. It's hard to tell if the couple in <i>Phantom Thread</i> bring out the best in each other, but PTA and DDL certainly do.<br />
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<b><b>3. Margaret (2011, Directed by Kenneth Lonergan)</b></b></div>
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It was filmed in 2005 so it almost doesn't count as being a film of this decade, but <i>Margaret</i> got an official release in 2011, so it qualifies. The long gestation period thankfully didn't hinder the greatness of the film. It's the kind of masterpiece we don't get as often these days -- it's messy and flawed, but it's a towering work of art nonetheless.<br />
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<b><b>2. Before Midnight (2013, Directed by Richard Linklater)</b></b></div>
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The latest installment in Richard Linklater's once-every-nine-years series offered another glimpse into the lives of Jesse and Celine, and it was just as lovely and heartrending as ever. <i>Midnight</i> is all about the work it takes to maintain a marriage, but it ultimately finds beauty in that struggle.<br />
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<b><b>1. Melancholia (2011, Directed by Lars von Trier)</b></b></div>
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Lars von Trier has long been one of cinema's biggest provocateurs, but in 2011 he put all of his impish notions aside to make a no-nonsense film about depression and the apocalypse. It resulted in not only the best work of his career, but the best film of the decade.<br />
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Farewell to a decade of film. Leave your thoughts below, as well as any lists you may have. If you want to read a longer ranked list of films that missed the cut, as well as some more data, you can find it on <a href="https://docs.google.com/document/d/1w-tgLlU2HF1IriT2mYT6RsmmJBy6mVDh17UdLWNAXEA/edit?usp=sharing">this Google doc</a>.Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com2tag:blogger.com,1999:blog-2395748504986705619.post-64775436821559301852020-01-29T00:01:00.000-05:002020-05-16T10:11:47.723-04:00My 50 Favorite Albums of the Decade: 2010-2019<div class="separator" style="clear: both; text-align: center;">
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Part of the joy of being one man with a blog and not an important publication is that I don't feel any pressure to make an albums list that contextualizes the decade. Nobody's reading this, so I don't need to fit anything in because it's "important" or "groundbreaking." No, this list is only concerned with what "slaps" and "goes hard." The real criteria was slightly more complicated, but only slightly. In choosing my favorite albums of the decade, I thought about the records that meant the most to me at the time they came out, but often an album can seem great in the year of its release and then you never return to it. So I also made sure to give credit to the albums that I returned to most often and the ones that still held up when I did my relistening throughout this year in preparation for this list.<br />
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They say that the music somebody listens to in their adolescence is the era that resonates the most with them and for me that's true, because if I had to choose, I'd probably say I enjoyed the music of the 2000s more than I enjoyed what the 2010s had to offer. But that's not to say I didn't think this was a good music decade. You could stretch the list you're about to read out to 100 picks and it would still include albums I love. The early part of the decade saw the bombast of the 2000s give way to sleeker, more electronic based sounds, which led many writers to declare that rock music was dead. But really, it was just that great rock music was coming from different places. Particularly in the last half of the 2010s, there was a boom of women making excellent DIY, punk, and music indebted to 90s alt-rock. Meanwhile, as rap became the dominant force in our culture, and pop continued to be embraced more as a genre worthy of serious consideration, both scenes gave us terrific examples of the form. Music was thriving all around, and it's ultimately a good thing that the wealth is being spread and not coming from the traditional modes of yore.<br />
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So let's celebrate all the 2010s had to offer...<br />
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<b>The rules:</b> In order to maximize the amount of variety on this list and ensure that certain artists don't clog it up, I've limited myself to one album per act. If a certain artist made albums under two different projects -- like Julian Casablancas with The Strokes and The Voidz, for example -- they would both be eligible. For my yearly lists, I usually consider EPs, but for this decade list I didn't really include EPs into consideration. There is one exception, but that EP feels so massive and made such a splash that it's basically an album. And in this day and age, a mixtape is the same thing as an album so naturally those are included. Other than that, the window of eligibility includes anything released between January 1, 2010 and December 31, 2019.<br />
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<b>20 Honorable Mentions (alphabetical order)</b><br />
Belle and Sebastian - <i>Write About Love</i> (2010)<br />
Boygenius - <i>boygenius EP </i>(2018)<br />
Bully - <i>Feels Like </i>(2015)<br />
Courtney Barnett - <i>Sometimes I Sit and Think, And Sometimes I Just Sit</i> (2015)<br />
D'Angelo - <i>Black Messiah</i> (2014)<br />
Danny Brown - <i>Atrocity Exhibition</i> (2016)<br />
Dirty Projectors - <i>Swing Lo Magellan</i> (2012)<br />
The Dodos - <i>No Color </i>(2011)<br />
Kero Kero Bonito - <i>Bonito Generation </i>(2016)<br />
JPEGMAFIA - <i>All My Heroes Are Cornballs </i>(2019)<br />
Justin Timberlake - <i>The 20/20 Experience</i> (2013)<br />
Laura Marling - <i>A Creature I Don't Know</i> (2011)<br />
Miguel - <i>Kaleidoscope Dream</i> (2012)<br />
The National - <i>Sleep Well Beast</i> (2017)<br />
Parquet Courts - <i>Human Performance</i> (2016)<br />
Shabazz Palaces - <i>Black Up </i>(2011)<br />
The Strokes - <i>Angles</i> (2011)<br />
Wilco - <i>The Whole Love </i>(2011)<br />
Wild Beasts - <i>Smother</i> (2011)<br />
Young Thug - <i>Slime Season </i>mixtapes (2015-2016)<br />
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<b>50. Superchunk - <i>What a Time to Be Alive</i> (2018)</b><br />
30 years and 11 albums into their career, a band should be running on fumes, but nobody told Superchunk that. Simply put, <i>What a Time to Be Alive</i> is one of the band's best, a blistering and catchy record about raging on in an age where despair seems like the only answer. Punk music is a young person's game, but luckily Superchunk is not here to play games.<br />
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<b>49. Wye Oak - <i>Shriek</i> (2014)</b><br />
Jenn Wasner is one of rock's best guitarists, so the news that <i>Shriek</i> would feature no six-string action seemed like a massive mistake. The final product proved otherwise, showing that Wye Oak's real power lies in their direct, gleaming songwriting. Plus, Wasner happens to be an incredible bassist as well.<br />
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<b>48. Pity Sex -<i> White Hot Moon</i> (2016)</b><br />
The emo revival was one of the dominating musical narratives of the 2010s and the main counterpoint to the idea that guitar music was dying. For the most part though, this music just bounced off of me. One exception is Pity Sex's <i>White Hot Moon</i>, which feels more akin to shoegaze than emo, what with its gauzy sound and whirlwind alternation of male and female vocals.<br />
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<b>47. Arcade Fire - <i>The Suburbs</i> (2010)</b><br />
Maybe this is the album that broke Arcade Fire. The Album of the Year Grammy win and the ambitious scope left them with no choice but to reach for larger bombast, eventually leading them to drop a misfire like <i>Everything Now</i>. But listening to <i>The Suburbs</i>, with its incredible variety of tracks held together by a nostalgic spirit, it's hard to blame such a wonderful record for anything that happened in its wake.<br />
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<b>46. Robyn - <i>Body Talk</i> (2010)</b><br />
Robyn opened the lane for the likes of Carly Rae Jepsen, Charli XCX, and Sky Ferreira, the alt-pop singers who have achieved success and a fervent audience without the superstardom that usually comes along with it. Her <i>Body Talk </i>series -- three EPs and an album featuring the best pickings from them -- had a futuristic sound to match her influence. Everyone's still trying to catch up to the catchy robotic pop on display here.<br />
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<b>45. Vampire Weekend - <i>Modern Vampires of the City</i> (2013)</b><br />
Vampire Weekend were an excellent band from their inception, but their white collar aesthetic and playful sound gave people an easy excuse to not engage with them. That's part of the reason why <i>Modern Vampires of the City</i> was so warmly embraced -- when they discarded what some saw as a gimmick and left only these baroque pop diamonds, nobody could deny the talent that was always there.<br />
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<b>44. Kendrick Lamar - <i>To Pimp a Butterfly</i> (2015)</b><br />
On both his most ambitious and best sounding album, Kendrick Lamar fully launched himself into the rap stratosphere with <i>To Pimp a Butterfly</i>. (It's a great reel for his eventual foray into voice acting as well.)<br />
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<b>43. Ariana Grande - <i>Yours Truly</i> (2013)</b><br />
She's now the biggest pop star in America, but at one point Ariana Grande was just an upstart trying to shake off her Nickelodeon origins. Her first album remains her purest expression, displaying her impressive ability to turn 90s R&B stylings into blissful pop music.<br />
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<b>42. St. Vincent - <i>St. Vincent </i>(2014)</b><br />
For a long time, it felt like St. Vincent was holding back a bit. Her first three albums were fantastic, but they showed little of the wild flights she proved capable of achieving in her live shows. That all changed with her self-titled fourth album, where she came back decked out with a gray-haired mad scientist look and a set of zany, brilliant tunes to match.<br />
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<b>41. The Walkmen - <i>Heaven</i> (2012)</b><br />
Long after the flame of many of their NYC rock revival peers was extinguished, The Walkmen continued to fluorish. Their music aged like the fine wine meant to be drank along with it, culminating in <i>Heaven</i>, one of their most elegant collections of songs.<br />
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<b>40. The Shins - <i>Port of Morrow </i>(2012)</b><br />
<i>Port of Morrow</i> has fallen victim to the shifting tides of discourse, as it feels largely forgotten despite being warmly received back in 2012. It may not <a href="https://www.youtube.com/watch?v=Ziwr4f5eR0M">change your life</a>, but it's further evidence that James Mercer has a never-ending supply of devilishly catchy melodies.<br />
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<b>39. Jens Lekman - <i>I Know What Love Isn't</i> (2012)</b><br />
Jens Lekman takes his sweet time between albums, but the finished product is always worth the anticipation. <i>I Know What Love Isn't</i> came five years after his magnum opus, <i>Night Falls Over Kortedala</i>, and the intervening years did nothing to dull the Swedish songwriter's attention to detail, droll humor, and lush instrumentation.<br />
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<b>38. A Tribe Called Quest - <i>We Got It from Here... Thank You 4 Your Service</i> (2016)</b><br />
Death doesn't have to be all sadness. A Tribe Called Quest proved that with <i>We Got It..</i>, a celebratory swan song gathering new friends and old, where the late great Phife Dawg is simultaneously dead and fiercely alive.<br />
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<b>37. Yuck - <i>Yuck</i> (2011)</b><br />
90s rock has been the sound du jour of this decade, but it might have been perfected in 2011 with Yuck's debut album. Synthesizing the sounds of Dinosaur Jr., The Smashing Pumpkins, and Sonic Youth, the band wielded their influences like the guitars they slashed to create an album that feels like a lost gem unearthed years later.<br />
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<b>36. Pusha T - </b><i style="font-weight: bold;">Daytona</i><b> (2018)</b><br />
The rap game's leading purveyor of chilly, clear-eyed coke rap has always had great taste in producers, and his 25 minute team up with Kanye West stands up there with his legendary, crime writer specific work with The Neptunes. May Pusha T never run out of clever ways to talk about selling drugs.<br />
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<b>35. P.S. Eliot - <i>Sadie </i>(2011)</b><br />
P.S. Eliot's star burned for only a brief period, but their energy could power multiple solar systems. <i>Sadie</i> was the ultimate realization of their potential, keeping their DIY aesthetic while moving towards a more polished, direct sound. The band is now known as the launching pad for the separate successes of Katie and Allison Crutchfield, but the youthful passion on display here was unique, special, and hasn't been replicated since.<br />
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<b>34. Disclosure - <i>Settle</i> (2013)</b><br />
Part of Disclosure's success can be attributed to the fact that they arrived right around the time when the world was itching for crossover electronic music on a Daft Punk level. But <i>Settle</i> resonates so much more than countless pretenders because it's simply incredible, a pristine send-up of UK garage that's reverential and fresh in equal measure.<br />
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<b>33. Vince Staples - <i>Big Fish Theory </i>(2017)</b><br />
Vince Staples has emerged as one of rap's great chameleons, always trying out new sounds to lay his hard-knocking flow over. It was a surprise when he decided to release an album full of cold, futuristic electronic beats, but it was an even bigger surprise just how well it worked.<br />
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<b>32. Carly Rae Jepsen - <i>Emotion</i> (2015)</b><br />
To the wider world, Carly Rae Jepsen is still the "Call Me Maybe" girl. But to the internet, she's an underdog messianic meme queen figure, all thanks to <i>Emotion</i>. People would have moved on after a few months if this wasn't such a dizzying set of fizzy, heartfelt posi-pop.<br />
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<b>31. All Dogs - <i>Kicking Every Day</i> (2015)</b><br />
Punk and indie rock turned music about anxiety and depression into an economy in the last few years, but <i>Kicking Every Day</i> remains one of the essential documents of mental illness. The songs on this record cut deep, channeling the everyday struggles to stay afloat and battling feeling like a burden to everyone around you into intense explosions of punk music.<br />
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<b>30. The Decemberists - <i>The King is Dead </i>(2010)</b><br />
Many of the prominent acclaimed indie bands of the 2000s had already fizzled out, but The Decemberists came into 2010 strong with <i>The King is Dead</i>. The key is that they were able to adapt, adopting a more rootsy sound. And they wear the alt-country hat well, keeping The Decemberists spirit despite the fresh new skin.<br />
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<b>29. The New Pornographers - <i>Brill Bruisers </i>(2014)</b><br />
By the time 2014 rolled around, people seemed to have grown so accustomed to The New Pornographers making bulletproof power pop that everyone seemed bored with it. So it was the perfect time for them to release <i>Brill Bruisers</i>, another perfectly constructed hookfest and their best work since 2005's <i>Twin Cinema</i>. It was far too good to be ignored.<br />
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<b>28. Sada Baby - <i>Bartier Bounty</i> (2019)</b><br />
If you live anywhere but Detroit, <i>Bartier Bounty</i> was probably your introduction to Sada Baby. And what an opening statement it was -- 20 tracks of unrelenting rapping, delivered with such unique verve that you can't deny it. You get the sense that this is just the beginning of a creative run that will continue well into the next decade.<br />
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<b>27. IAN SWEET - <i>Shapeshifter </i>(2016)</b><br />
Every time I listen to <i>Shapeshifter</i>, I feel a tingle of recognition. There's a quality to this weird, queasy, and sad album that feels comfortable in a way that few others do.<br />
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<b>26. Angel Olsen - <i>My Woman </i>(2016)</b><br />
Angel Olsen has come a long way from the sparse folk songs of her debut <i>Half Way Home</i>. By the time of her third album, she'd grown to flex so many different muscles. <i>My Woman</i> gives you everything you could want from Olsen: the old-timey jams, the oblong synth splashes, and the sprawling siren songs.<br />
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<b>25. Los Campesinos! - <i>Hello Sadness </i>(2011)</b><br />
Cult bands usually attract so much devotion because they make the kind of music that inspires people to see themselves or understand themselves better. <i>Hello Sadness</i> is the quintessential cult band project in that regard -- Los Campesinos! frontman Gareth slicing himself open in melodramatic, exhilarating songs for all to listen to and sympathize with.<br />
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<b>24. Frank Ocean - <i>Blonde </i>(2016)</b><br />
This was maybe the toughest choice to make: <i>Channel Orange</i> vs. <i>Blonde</i>. While <i>Channel Orange</i> has the more straightforward jams, <i>Blonde </i>is the one that becomes richer after you let it simmer. The way it cracks open more each time you hear it makes more likely to linger in our collective consciousness.<br />
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<b>23. Hospitality - <i>Hospitality</i> (2012)</b><br />
Even the best bands who make breezy indie rock often sacrifice complex instrumentation to do so, but not Hospitality. It's part of why their self-titled debut is one of the unsung masterpieces of the 2010s: their ability to strike a seemingly impossible balance between fluff and musicianship. Not enough people have heard this album, and if you're one of those people, give it a listen immediately.<br />
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<b>22. Sky Ferreira - <i>Night Time, My Time</i> (2013)</b><br />
In the middle of increasing amounts of bands making pop records under the guise of indie rock, Sky Ferreira made one of the few indie rock records under the guise of pop. <i>Night Time, My Time</i> is full of diamond-quality catchy songs, but they've got a serrated, unkempt feeling to them that makes them even more arresting.<br />
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<b>21. Lorde - <i>Melodrama </i>(2017)</b><br />
Lorde had a few breakout hits at 16 on her debut album, but instead of chasing stardom with her second record, she made an Artistic Statement. <i>Melodrama</i> operates in a magical middle ground where Lorde writes with a level of poetry beyond her years but a clarity about youth that only someone in the trenches could achieve. It may have been less commercially successful than <i>Pure Heroine</i>, but its a legacy strengthening album for her as a songwriter.<br />
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<b>20. Soccer Mommy - <i>Clean</i> (2018)</b><br />
Sometimes there's no other narrative behind an album besides "the songs are good." And the songs on Soccer Mommy's debut album <i>Clean</i> -- from rockers like "Cool" to elliptical ballads like "Wildflowers" -- are really, really good.<br />
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<b>19. Joanna Newsom - <i>Have One on Me </i>(2010)</b><br />
Joanna Newsom is the exception to every musical rule, so don't let the fact that it's a triple album turn you off from listening to <i>Have One on Me</i>. Over 18 songs and over 150 minutes, the harpist spans styles and subjects, but every track is united by Newsom's ability to wield the English language to craft dense, emotional narratives.<br />
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<b>18. Sufjan Stevens - <i>Carrie & Lowell </i>(2015)</b><br />
Sufjan Stevens rose to indie stardom on the back of ambitious, orchestral, state-specific albums like <i>Greetings From Michigan</i> and <i>Illinois</i>. And even his left-field electronic turn on <i>The Age of Adz</i> was filled bombast. But <i>Carrie & Lowell</i> reminded us that he's just as good at sparse beauty.<br />
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<b>17. Cymbals Eat Guitars - <i>LOSE</i> (2014)</b><br />
The third album from New Jersey band Cymbals Eat Guitars completely blew the doors open on their music. They always had a dense tangle of instrumentation, but this time they added oomph to Joseph D'Agostino's lyrics, centering most of the songs on memory and the death of his childhood friend. <i>LOSE</i> is the ultimate catharsis album, filled with huge tracks that will leave a lump in your throat.<br />
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<b>16. Kanye West - <i>Yeezus</i> (2013)</b><br />
It may be controversial to pick this over <i>My Beautiful Dark Twisted Fantasy</i>, but with some years of distance <i>Yeezus </i>feels like the fresher, more interesting work. Though it may be abrasive and confrontational, it's still compulsively listenable. It's one of the best highwire acts in a career defined by them.<br />
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<b>15. Big Boi - <i>Sir Lucious Left Foot...The Son of Chico Dusty</i> (2010)</b><br />
Anybody who thought Big Boi was the weak link of Outkast would have a hard time standing by that already ludicrous sentiment after hearing <i>Sir Lucious</i>. The legendary Atlanta rapper's first solo album under his own name stands up there with the best work he did with Andre 3000. <i>Sir Lucious</i> is a luxurious album of funky bangers, the kind of expansive, genre-spanning rap album they don't make anymore.<br />
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<b>14. Hop Along - <i>Painted Shut</i> (2015)</b><br />
<i>Painted Shut</i> blends Hop Along's two most potent elements -- Frances Quinlan's distinctive rasp and the band's tight dynamic -- into a perfect storm of rousing songs. Guitar music was never dead, but it feels particularly vital on this album.<br />
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<b>13. Das Racist - <i>Sit Down, Man </i>(2010)</b><br />
It's impossible to overstate how much <i>Sit Down, Man</i> rewired my brain in 2010. During a time when rap music was still tilted toward a sense of self-seriousness, it felt revolutionary for an album to be this sly about dissecting race and pop culture while also being so hilarious and playful about it. Das Racist were so of the time that you'd think they'd age like lukewarm milk, but this mixtape still sounds exciting.<br />
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<b>12. Girls - <i>Father, Son, Holy Ghost</i> (2011)</b><br />
With an album title like <i>Father, Son, Holy Ghost</i>, you're under alot of pressure to make something akin to a religious experience. And Girls did that on what ended up being their final statement as a band, stirring up influences from gospel, to Elvis Costello, to 50s pop and conjuring an album that feels wholly unique and special to this day.<br />
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<b>11. Alvvays - <i>Antisocialites</i> (2017)</b><br />
It must be tough to have a breakout song that eclipses the rest of the songs on an album, as Alvvays did with "Archie, Marry Me" on their very good self-titled debut. But it didn't seem to phase them while making their second LP, a record that solidified once and for all that making great, catchy songs is just what they do. <i>Antisocialites</i> is the ideal sophomore album: bigger, bolder, and just plain better.<br />
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<b>10. Swearin' - <i>Swearin' </i>(2012)</b><br />
Allison Crutchfield is the less famous of the Crutchfield twins, which is a shame because her band Swearin' deserves just as much shine. They've been the real deal since day one, when they released their debut of rip-roaring punk tunes. Underestimate them at your own peril.<br />
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<b>9. Chance the Rapper - <i>Acid Rap</i> (2013)</b><br />
Before the Doritos commercials, before the youth pastor evangelizing, before the thin-skinned strong-arming of journalists, Chance the Rapper was just a kid from Chicago. And <i>Acid Rap</i> was the mixtape that launched him into the stratosphere, making good on the promise shown on <i>10 Day</i> with a fully-formed project that used his excitable yammer to deliver a devastating mix of grim musings on growing up in Chicago and exaltations about living through it all. He's done his best to destroy all of the goodwill he's built up, but we'll always have <i>Acid Rap</i>.<br />
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<b>8. Beach House - <i>Teen Dream</i> (2010)</b><br />
Beach House is without a doubt the most consistent band of the decade. Over the last 10 years they've released five excellent albums that could all make a strong case for being their best. But ultimately I went with <i>Teen Dream</i>, which still feels like their strongest piece of front-to-back songwriting. The album flows so well, every track a classic that matches the thrills of the last.<br />
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<b>7. Fleet Foxes - <i>Helplessness Blues</i> (2011)</b><br />
Fleet Foxes proved they weren't just an ephemeral buzz band with their sophomore album, which turned their classical folk pop stylings more insular and ornate, each song feeling like its own beautifully crafted movement. It took the band six years to follow this up and after listening to it again, who can really blame them?<br />
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<b>6. Taylor Swift - <i>Red</i> (2012)</b><br />
<i>Red </i>may not be Taylor Swift's best record (that's still last decade's <i>Fearless</i>), but it might be the most definitive display of her powers. The sheer range of jams she churns out on this record -- the arena-ready "State of Grace," the slow burning "All Too Well," the bubblegum pop of "22" -- is something to behold. It's what makes her one of the best songwriters ever.<br />
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<b>5. Run the Jewels - <i>Run the Jewels 2</i> (2014)</b><br />
<i>Run the Jewels 2</i> is the summer blockbuster of albums. There's no other way to describe the spectacle of hearing Killer Mike and El-P rap like titans, crushing everything in their wake. But unlike most blockbuster films, the political rage and head-spinning production of <i>RTJ2</i> doesn't evaporate from your mind as soon as you step away from it.<br />
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<b>4. Frankie Cosmos - <i>Next Thing</i> (2016)</b><br />
A Frankie Cosmos record is not just an album, but an invitation into Greta Kline's world. <i>Next Thing</i> is one of her many collections of small wonders. The tracks may be short but they contain a deep well of feeling and melody.<br />
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<b>3. Waxahatchee - <i>Cerulean Salt </i>(2013)</b><br />
Over the course of four increasingly assured albums, Katie Crutchfield has emerged as the indie rock queen of this decade. Her breakthrough <i>Cerulean Salt</i> remains her most definitive album, a 90s rock-indebted collection of gut-scraping songs that serve as the bible to one's 20s.<br />
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<b>2. Charly Bliss - <i>Guppy</i> (2017)</b><br />
The <i>Blue Album</i> for the 2010s, <i>Guppy</i> supercharges early Weezer's catchy riffage and sticky hooks but trades in Rivers Cuomo's vocals for Eva Hendricks' high-stakes, high-pitched singing. Charly Bliss' debut is a joyous and endlessly listenable album.<br />
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<b>1. Camera Obscura - <i>Desire Lines </i>(2013)</b><br />
The tragic loss of keyboardist and founding member Carey Lander means this might be the final Camera Obscura album. If that's the case then <i>Desire Lines </i>is a gorgeous swan song, the millennium's best band crafting one more set of elegant indie pop.<br />
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Farewell to a decade of music. Leave your thoughts below, as well as any lists you may have. If you want to read a long list of songs I liked from artists who didn't make this list you can find it on <a href="https://docs.google.com/document/d/1FuRKK1OxlvJPrDZZu5W2kznIitWbmpr2ii_-QZyKfuw/edit?usp=sharing">this Google doc</a>.Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com3tag:blogger.com,1999:blog-2395748504986705619.post-1805479814996875032019-12-31T00:01:00.000-05:002020-02-09T12:16:20.488-05:00My 20 Favorite Television Shows of 2019<div class="separator" style="clear: both; text-align: center;">
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Loyal fans have been waiting for a whole year to get to this day. Not to see my actual list, but to hear me chronicle my crippling addiction to television and see whether or not I was able to limit myself to following less than 100 shows this year. Well I've got some bad news for you: if we're counting the shows I watched every airing episode of this year, that number reached 102. I know, I really thought I was going to meet my goal in 2019. And I was so close! I know I said this last year, but I really am quitting more shows and not starting more altogether, they just keep making more of them every year. Those numbers simply can't be beat.<br />
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One thing I've noticed with my list this year is that it feels a little different than previous years, and I can't tell if that's due to a change in my taste or a change in the trend of what gets made. But I will say this year there's less Very Serious Drama For Very Serious People (your <i>Mad Men</i>s, your <i>Americans</i>) and more stuff, especially in the top 10, that might make you say "huh"? The idea that great TV comes in all shapes and sizes is a mantra I've repeated alot over the years, and we would all do well to remember that as the landscape transforms a bit in the next decade.<br />
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<b>The rules:</b> I hope you haven't gotten in the habit of skipping this part because there's a bit of a change this year. Any show whose season <i>premiered</i> on or after December 13, 2019 won't be eligible for this year's list and will be saved for next year. This was put in place to deal with the increase of streaming networks dropping whole seasons close to the end of the year without any regard for my personal well-being. So please don't yell when you don't see <i>The Expanse</i>,<i> Runaways</i>, or <i>You</i> on this list. If a show premiered before December 13, 2019 then any episodes that aired between January 1, 2019 and December 31, 2019 are considered for its ranking. Confused yet?<br />
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<b>Honorable Mentions (25-21)</b><br />
Few things provided more joy and laughs than <i style="font-weight: bold;">The Other Two</i> <b>(Comedy Central)</b>, a hilarious show about two siblings failing at life. Without the involvement of a certain creative force who shall not be named, <i style="font-weight: bold;">Better Things</i> <b>(FX)</b> still flourished as one of the loveliest, most soulful shows on air. Far too many true crime procedurals have a hint of exploitation and sensationalism, but by telling a story of a rape case that focuses on the victim, <i style="font-weight: bold;">Unbelievable </i><span style="font-weight: bold;">(Netflix)</span> serves as a fantastic corrective. <b><i>Primal</i> (Adult Swim)</b>, a wordless animated action miniseries, is another masterclass of storytelling from Genndy Tartakovsky. Though it got off to a rough start, the first season of <i style="font-weight: bold;">For All Mankind</i> <b>(Apple TV+)</b> eventually grew into a moving, rich character drama.<br />
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<b>20. Jett (Cinemax)</b></div>
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With shows like <i>Banshee</i> and <i>Quarry</i> under their belt, Cinemax has been the unsung hero of preserving retro pulp novel storytelling, and they gave us another great entry into that collection this year with <i>Jett</i>. The show follows a former thief (played by Carla Gugino) who gets out of prison and is forced back into the world of crime. So it's a pretty classic setup, but they execute it with impressive style and skill, populating the world with a bevy of intriguing characters and perfectly pacing out its twisty story over the length of the season. Like all Cinemax shows, <i>Jett </i>seems to have flown under the radar in this crowded landscape, but if you're a fan of crime stories, you won't want to miss it.<br />
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<b><b>19. Mindhunter (Netflix)</b></b></div>
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TV has been known as a writer's medium for so long that it would seem unbelievable if even five years ago you told someone we would get a season of a show where three episodes were directed by David Fincher, two were directed by Andrew Dominik, and four were directed by Carl Franklin. <i>Mindhunter</i> has always been a direction-first show, and season two was a masterclass of framing, pacing a scene through shot selection, and conveying ideas solely through visual information. Though the writing wasn't the star, it chugged along confidently as well, balancing the interview style of the first season with a longform case about the Atlanta murders in the early 1980s. This doesn't seem like a show Netflix has high on its marketing priority list, but it's one of the best they've got right now.<br />
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<b><b>18. Crazy Ex-Girlfriend (CW)</b></b></div>
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For its three previous years, <i>Crazy Ex-Girlfriend</i> pulled off the difficult feat of being a musical comedy about mental illness and did it with nary a misstep, and in its final year it gave itself an even more arduous task: telling a story about people ultimately becoming better and more stable. The storytelling rulebook might say that's not dynamic enough to work, but in execution it felt so profound for these characters whose neuroses we've witnessed for hours finally get a handle on them. That the show did so while still providing multiple great songs per episode is why it's one of the best of its generation.<br />
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<b>17. The Marvelous Mrs. Maisel (Amazon)</b></div>
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The third season of <i>The Marvelous Mrs. Maisel</i> was pretty light on drama, so it compensated by upping its game on the pleasure delivery front. The ratatat screwball dialogue, the detours to gorgeous locales, the candy-colored sets and costumes, the intricate music and dance interludes -- most of what we've come to love about Amy Sherman-Palladino's latest bubbly creation was there in full force. And though it threatened to fall apart many times this season, like its headstrong protagonist, it managed to always avoid teetering over the edge.<br />
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<b><b>16. Barry (HBO)</b></b></div>
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In its second season, <i>Barry</i> definitively made the point that it's not a show about an ultimately good man who does bad things, but a bad man who can't quite come to terms with the fact that he's bad. Showcasing incredible performances from Bill Hader and Sarah Goldberg, and delivering wild stylistic detours -- the surreal, hilarious "ronny/lily" being one of the year's best episodes -- season two operated with the finesse and command of its hitman protagonist. <i>Barry</i> might be a bad man, but watching him wrestle with that fact makes for deeply compelling television.<br />
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<b><b>15. Pose (FX)</b></b></div>
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Most shows in Ryan Murphy's orbit fall off of a cliff in their sophomore year, but <i>Pose</i> only seemed to blossom this year. Its second season was even more joyous and special than the first, ironing out some of its previous unevenness and gaining confidence in its storytelling. The electrifying ball scenes continue to be one of the most singular things on television, but its moving story about marginalized people trying to eke out a bit of happiness in their corner of the world is just as potent.<br />
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<b><b>14. Lodge 49 (AMC)</b></b></div>
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To watch <i>Lodge 49</i> is to give yourself over to a rhythm that you're probably not used to. In an age of high premise and even higher speed television, the now-cancelled <i>Lodge 49</i> was a complete 180. In its second season, the show locked even more into its lackadaisical vibe as it continued to tell its story about spiritually adrift twins Dud and Liz, still reeling from the death of their father. And though it spun out in weird and funny ways, it remained grounded by its moving themes of finding community and meaning in an increasingly isolated and capitalist world. Following along with it ended up feeling like being a part of a secret society too. Its powerful aura will be missed.<br />
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<b><b>13. The Magicians (Syfy)</b></b><br />
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My aim was to finally write a blurb about <i>The Magicians</i> that didn't mention <i>Buffy</i>, because it's a terrific show that stands on its own, but they don't make it easy for me. Like its spiritual cousin, the fourth season of <i>The Magicians</i> was a transitional year, where the long term arc didn't always hold together, but it still had so many individual moments of greatness. It's times like these where it helps to have such a large utility belt, where sheer entertainment and genre playfulness can make up for some shaky storytelling. Even when it's a little off its game, <i>The Magicians</i> is still satisfying television.<br />
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<b><b>12. The Good Fight (CBS All Access)</b></b></div>
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Now that tentpole series like <i>Star Trek Discovery </i>and <i>The Twilight Zone</i> exist on the service, more people are aware of CBS All Access, but there still aren't enough eyes on <i>The Good Fight</i>, which feels like its languishing in relative anonymity. In its third season, the <i>Good Wife</i> spinoff continued its playful, engaging storytelling that feels unlike anything else airing right now. The show skillfully blends old-school procedural legal drama with a new-school political flair and formal experimentation (including, in this season, animated musical interludes that break up the action in each episode). At this point, <i>The Good Fight</i> is so consistently a blast that it has surpassed its predecessor.<br />
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<b><b>11. Broad City (Comedy Central)</b></b></div>
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The hilarious New York adventures of Abbi and Ilana came to a close after five wonderful years, and the final season served as an excellent victory lap. It gave us episodes as funny as some of the show's best, like "Bitcoin & the Missing Girl," but it also had a surprisingly emotional undercurrent about the duo coming into their own as adults. <i>Broad City</i> was always going to go down as one of this decade's best comedies, but season five further solidified the show's place in the canon.<br />
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<b>10. Mrs. Fletcher (HBO)</b></div>
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When you watch the amount of television that I do (too much, please help) it's hard to be truly surprised by anything. Which makes it even more special when something like <i>Mrs. Fletcher</i> comes around. The show's elevator pitch premise -- a middle-aged mom suffering from empty nest syndrome becomes addicted to porn -- and marketing made it seem like a one-note, quirky indie movie translated to TV. Thankfully, the show is so much more than that. How far and wide the series' empathy spreads over seven episodes is stunning, expanding from its one-woman story to include a handful of fascinating and complex characters. "Don't judge a book by its cover" is a hoary sentiment at this point, but sometimes it's helpful to remember with a show like <i>Mrs. Fletcher</i>.<br />
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<b>9. Dickinson (Apple TV+)</b></div>
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When the trailer first dropped for <i>Dickinson</i>, one of Apple TV+'s four launch shows, it was met with immediate bewilderment and ridicule by people who thought this Hailee Steinfeld-starring, millennial re-imagining of Emily Dickinson's life looked like one of those fake shows you'd see inside of <i>30 Rock</i>. But it turns out that the show itself was already a million steps ahead of the internet snark brigade. <i>Dickinson</i> pulled off the impressive feat of existing at the exact midpoint between irony and sincerity in its funny, delightfully strange first season. Blending a period setting with modern vernacular, anachronistic music cues, and surreal flights of fancy; the show feels like a bold work of pop collage art in the vein of Baz Luhrmann's <i>Romeo + Juliet</i>. Here's a sample of what I'm talking about: there's a scene in the second episode where Emily's getting fingered while a Hailee Steinfeld voiceover of one of Dickinson's poems plays over it, <i>while</i> Mitski's "Your Best American Girl" plays on the soundtrack. It's that kind of swooning romance mixed with melodrama mixed with genuine stylistic flair that makes the show so special. Elsewhere, it expects you to laugh at the absurdity of a leaked nudes subplot in this setting but also buy into the earnestness of the emotions in the storyline. <i>Dickinson</i> is a daring and deft highwire act, and the world needs more art that's this idiosyncratic.<br />
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<b><b>8. The Society (Netflix)</b></b></div>
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Netflix produces so much content -- particularly generic teen content -- that it's hard to tell from the outside what separates one from the other. Unless you're in the weeds with Netflix's content slurry, it could be easy to miss a gem like <i>The Society</i>. At first, this show about a town where everyone but the teenagers mysteriously disappear, feels like an algorithmically generated amalgamation of <i>Lord of the Flies</i>, <i>Lost</i>, and <i>The 100</i>, but it quickly comes into its own. The show grows more confident in its character writing and world building, and it's not afraid to go to dark places in its exploration of how communities are rebuilt from the ground up. <i>The Society</i> feels like one of the few Netflix shows that actually benefits from a binge watch, allowing you to devour its tantalizing mysteries and turns at a rapid clip.<br />
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<b><b>7. Big Little Lies (HBO)</b></b></div>
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In the middle of <i>Big Little Lies</i> season two, <a href="https://www.indiewire.com/2019/07/big-little-lies-season-2-andrea-arnold-lost-creative-control-jean-marc-vallee-1202156884/">an investigative piece on Indiewire</a> dropped that confirmed the suspicions that many had while watching the first few episodes: some funny business was going on behind the scenes. And the funny business was that control of the season was essentially wrestled from director Andrea Arnold's hands with very little communication about what was going on, leading to reshoots and hasty post-production reworkings. It's awful what happened to her and it's haunting to know that we'll never get to see what a great, distinctive director like her really wanted to do with the material, but I honestly think the season managed to be a triumph anyway. With the whodunnit aspect of season one out of the way, season two is essentially a long string of falling action, which gave it space to really ruminate on shared female trauma and how people heal. There's this magical frequency that the show operated on this year where an ineffable sense of connection ran through every moment. It may be a controversial opinion but it's one I'll stand by: the second season of <i>Big Little Lies</i> is better than the first.<br />
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<b>6. Legacies (CW)</b></div>
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Is there any show on the air having more fun than the CW's <i>Legacies</i>? Despite the fact that it's a spinoff of <i>The Vampire Diaries</i> (which I saw one season of) and <i>The Originals</i> (which I've never seen any of), effusive recommendations from my Twitter timeline led me to catching up on the show right in time for its second season, which is off to a rollicking start so far. Operating like a weirder, sexier Harry Potter set in the Mystic Falls universe, the show is a full-throated celebration of what seems to be a dying style of television. Wildly entertaining monster-of-the-week stories, a cast of vivid and distinct personalities, bonkers cliffhangers -- all of these things are still possible! And <i>Legacies </i>proves that every week, functioning with a seemingly endless supply of creative energy. Toss any preconceptions aside and enjoy.<br />
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<b><b>5. Orange is the New Black (Netflix)</b></b></div>
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On my music year-end lists, I often write about the phenomenon of older bands who are so consistently great that people get inured to their greatness and are distracted by the hot new thing. <i>Orange is the New Black</i>, I fear, fell victim to a similar fate. The show's transition to Litchfield's max security prison in its fifth and sixth seasons may not have reached the peaks of its early years, but the show's deft structuring, boundless ambition, and tonal range still made it one of TV's most impressive series. I heard so many people this year say "Oh, I stopped watching that show a few years ago" which is a shame, because the final season was a lovely cap on a show so gigantic it seemed like an impossible task to wrap it up in a satisfying way. But season seven did just that, telling complex stories about the prison industrial system and all the different lives that get caught up in it.<br />
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<b><b>4. PEN15 (Hulu)</b></b></div>
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We've finally reached the point where the early 2000s has its time to receive the nostalgia spotlight, and Hulu's <i>PEN15 </i>feels like the first show to maximize the potential of this fertile ground. The show's co-creators Anna Konkle and Maya Erskine also serve as the stars, where they play 13 year old versions of themselves in middle school, while the rest of the actors are actual teenagers. A lesser show would coast on the sight gag of two adults playing against a bunch of kids, but <i>PEN15 </i>has actual jokes as well. It explores the weird, gross, and humiliating aspects of adolescence with a hilarity and specificity that eventually makes you forget the central gimmick. And just when you're content with it being a great comedy, it also becomes surprisingly earnest and emotional, giving one of the best explorations of teen girl friendship since <i>My So-Called Life</i>. It may have appeared to be a one-note show at first, but <i>PEN15</i> has legs.<br />
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<b><b>3. The Deuce (HBO)</b></b></div>
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Those who are scholars of David Simon's output -- <i>The Wire</i>, <i>Treme</i>, <i>Generation Kill</i> -- know that he does not go easy on the viewer. He simply sees his stories through to their logical end; the tragedies are true and the victories are hard won. Simply knowing this still doesn't prepare you for the searing emotions you'll feel once you're deeply submerged into one of his teeming worlds. <i>The Deuce</i> chronicled the rise and fall of the porn industry in the late 70s and early 80s, but it also served as a vision of a certain slice of New York City at the time. And by the final season, the money had dried up and moved out West, the cost of exploitation proved too much for these aging bodies, and AIDS was running rampant throughout the community. Despite all of that, the show was too brimming with life to feel like a slog. <i>The Wire</i> may always be Simon's shining achievement, but season three of <i>The Deuce </i>is arguably his best ending.<br />
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<b><b>2. Looking For Alaska (Hulu)</b></b></div>
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The adaptation of John Green's seminal 2005 young adult novel has been a long time coming, getting stuck in development hell while fans watched one proposed film adaptation after another come and go, leaving many to assume it would just never happen. It turns out the story just needed to gestate until the right format came along. The rise of streaming services opened Hollywood up to the idea of presenting it as it should have been all along: an eight-episode, self-contained miniseries. Hulu's <i>Looking For Alaska</i> strikes a complicated balance. First, it's a wonderfully engaging hangout show, diving deep into the colorful world of Culver Creek boarding school, with its dense tangle of characters, traditions, and internal rules. But it's also a wrenching tragedy, all the more so because of the way it invests in these people and the answers they're searching for. If you're a fan of the book, you get to see a near-perfect adaptation of one of the best coming of age novels ever written, one that stays true to the spirit of the book and expands upon it in all the right ways. And if you're not, you get to experience it for the first time and be blown away by how graceful and moving it is.<br />
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<b><b>1. Succession (HBO)</b></b></div>
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At the beginning of its second season, <i>Succession </i>became something of an internet sensation. Some of that came from Twitter's need to fill the vacuum of television watercooler discussion in the wake of <i>Game of Thrones</i> ending, but it's mostly that the show was so fantastic that it warranted the real estate it took up online. Though <i>Succession</i>'s first season was excellent from early on -- anyone who tells you otherwise is a fool -- season two somehow found another gear. Often it felt like the show was operating in such a delicate sweet spot that it didn't feel real. How could a series be so wickedly entertaining and also building such an intricate scaffolding of operatic tragedy? How could it have such a deep roster, where it constantly felt like a new player was jockeying for position as the biggest scene stealer? Sometimes we need a show like <i>Succession</i> to come around, shake us out of our complacent stupor, and remind us what the medium is capable of. Hats off to TV's number one boy.<br />
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Well, that wraps things up for my best shows of 2019 list. I love reading other lists, so feel free to share yours in the comments. Or if you want to share your thoughts on my list, then you can do that too! To see a complete inventory of all the TV I watched this year (with even more rankings), you can find it on <a href="https://docs.google.com/document/d/1OennshHS7ew6Roa2ttxFEDy9HUGRrFR4kDPTj0RZnNw/edit?usp=sharing">this Google Doc</a>.<br />
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<b>Previous lists</b><br />
<a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-television-shows-of-2018.html">2018</a><br />
<a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-television-shows-of-2017.html">2017</a><br />
<a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-television-shows-of-2016.html">2016</a><br />
<a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-television-shows-of-2015.html">2015</a><br />
<a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-television-shows-of-2014.html">2014</a><br />
<a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-television-shows-of-2013.html">2013</a>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com3tag:blogger.com,1999:blog-2395748504986705619.post-45982237251365214352019-12-30T00:01:00.000-05:002020-02-09T12:13:55.250-05:00My 20 Favorite Films of 2019<div class="separator" style="clear: both; text-align: center;">
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What <i>is</i> cinema? Never mind...I'll leave that question to <a href="https://www.nytimes.com/2019/11/04/opinion/martin-scorsese-marvel.html">Martin Scorsese</a>.<br />
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Every year in my TV list, I talk about trying to watch less TV. With film, I'm trying to do the opposite. And I did pretty well with that last year, watching a total of 104 new releases, way more than I ever had before. That would be tough to top, but I at least wanted to stay somewhere close, as opposed to the 75 I ended up hitting. Part of that is because this year marked the debut of the Criterion Channel streaming service and I chose to spend more time watching MGM musicals from the 1950s and Akira Kurosawa films instead of whatever new algorithmically generated movie Netflix released onto their system. But another part might be that it was a weaker year overall. It was very top-heavy in 2019, with many masters and soon-to-be masters putting out excellent work, but it just didn't seem to have the overall depth that 2018 did. Even some of those aforementioned masters could barely get their movies shown in theaters.<br />
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Okay, maybe Marty was right.<br />
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<b>The rules:</b> As long as a film got an official United States release in 2019, it was eligible for placement on this list. This is an important thing to remember, since some of the films that appear in my top 20 premiered at film festivals in 2018, but didn't get released in theaters until this year. And in the case where a film got no theatrical release, then a VOD debut in 2019 will make it eligible.<br />
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<b>Honorable Mentions (25-21)</b><br />
<i style="font-weight: bold;">Ash Is Purest White</i> has a languid pace, but the experience of watching this sprawling crime romance is hypnotizing. It's hard to put a finger on what director Craig S. Zahler's politics are, but <i style="font-weight: bold;">Dragged Across Concrete</i> is another one of his great pulp flicks. Terrence Malick's increased rate of output hasn't dulled his distinct style -- <i style="font-weight: bold;">A Hidden Life</i> is another one of his lyrical meditations on faith and grace. The tightly wound <i style="font-weight: bold;">Uncut Gems</i> delights in the specificity of its world and an electric performance from Adam Sandler. An amiable spirit and genuinely therapeutic philosophy about pleasure-seeking propels <i style="font-weight: bold;">The Beach Bum</i>, Harmony Korine's goofiest ode to oddballs yet.<br />
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<b>20. Climax (Directed by Gaspar Noe)</b></div>
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<i>Climax</i> is one of the most exhausting, agonizing, and obnoxious cinematic experiences ever. It's also one of the most exciting. Such is the nature of the beast when you're dealing with Gaspar Noe. He uses this story about a dance troupe who goes mad when somebody drugs the punch at a practice session as an excuse to stage one bravura sequence after another. There's some sort of abstruse political message he might be trying to get across here, but what really matters is the audiovisual experience of watching chaos in its purest form. This might even be Noe's most tame and straightforward film, which is certainly saying something.<br />
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<b>19. Ford v Ferrari (Directed by James Mangold)</b></div>
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We spent so much of the decade lamenting the death of the movie star as a concept, but this year proved that maybe we can't count it out just yet. <i>Ford v Ferrari </i>is one of 2019's biggest testaments to the power of the movie star, as it's largely a vehicle for Matt Damon and Christian Bale to command the screen with their megawatt charisma. That's not to discount the film's many additional merits, like its thoughtful ideas about creative expression under corporate control, the excellent way it lays out the process of preparing for the 24-hour Le Mans race, and those thrilling racing scenes. But it's the twin performances from Damon and Bale that really linger, effortlessly selling the bond between these two men trying to achieve greatness. <i>Ford v Ferrari</i> is a textbook dad movie, but it's a damn good one.<br />
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<b>18. Gemini Man (Directed by Ang Lee)</b></div>
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Ang Lee seems to be following the trajectory of a James Cameron or Robert Zemeckis, masters who have achieved all the acclaim they need to and have spent the latter part of their careers falling down the rabbit hole of trying to push the medium forward technologically. Lee's personal pet project is high frame rate, and after testing the waters with <i>Billy Lynn's Long Halftime Walk</i>, he stretched it out to blockbuster proportions with <i>Gemini Man</i>. It's a film in the classic 90s action movie vein -- which makes sense, since the script had basically been languishing in development hell for that long -- where Will Smith is confronted by a younger, digitally constructed version of himself. Ang Lee seems to understand that the hyper-real feels a little unreal, and he uses that to his advantage in the film's jaw-dropping action setpieces. But it's not just a tech demo disguised as a film -- <i>Gemini Man </i>is also a pretty soulful look at confronting one's own obsolescence. It's a shame that a master filmmaker experimenting with the medium got met with such dismissal and derision.<br />
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<b><b>17. The Lighthouse (Directed by Robert Eggers)</b></b></div>
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Director Robert Eggers is a big, in-the-weeds detail guy. It's the kind of quality that made him write <i>The Witch</i> based on real regional dialects from the 1630s, and it's also what caused him to shoot <i>The Lighthouse</i> in a boxy aspect ratio and photographed to look like faded pictures you see of old sea captains. There's not really any deeper meaning to the movie because there doesn't need to be -- its phantasmagoric oddness and commitment to depicting its characters losing their sanity is enough to make it a worthwhile two-hander. Sometimes movies can just be pure audiovisual experiences, and in that case <i>The Lighthouse</i> is one hell of a ride.<br />
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<b><b>16. Peterloo (Directed by Mike Leigh)</b></b></div>
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Mike Leigh never gets the credit he deserves but his latest, <i>Peterloo</i>, flew particularly under the radar this year. The film chronicles the events of the 1819 Peterloo Massacre, but chooses to structure it around a series of speeches that various leaders fighting for reform give. It's both a display of oratory power and another example of Leigh's gift with actors, giving them the platform to really carve out and make the most of a performance. <i>Peterloo</i> feels like the exact kind of rousing and timely film that should've been big in 2019.<br />
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<b><b>15. High Flying Bird (Directed by Steven Soderbergh)</b></b></div>
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Steven Soderbergh, ever the restless experimenter, introduced a new aspect to his bag of tricks last year with his iPhone-shot <i>Unsane</i>. And this year he gave us his software upgrade with another iPhone film, <i>High Flying Bird</i>, which tells the story of a fictional NBA lockout and how that leads one agent to embark on a radical plan to democratize the sport. Disruption is built into every aspect of the film. This time, the use of an iPhone isn't just a technological experiment, but crucial to the underpinnings of Tarell Alvin McCraney's lively script. Even the fact that it was released through Netflix feels like a deliberate thematic statement. In a year where there's been alot of lamentation about the changing tides of the film industry, Soderbergh chose to go the other way and greet the challenge with open arms. Change can be hard, but sometimes it represents a way forward.<br />
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<b><b>14. Toy Story 4 (Directed by Josh Cooley)</b></b></div>
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Pixar continues to tempt fate with the <i>Toy Story </i>series. Not only are the first three films all five-star masterpieces, but the third one in particular served as a satisfying conclusion for these sentient toys many children grew up with. So it seemed like a disastrous idea for them to attempt to make a fourth film. Well...it turns out we shouldn't doubt Pixar when it comes to Woody and the gang. <i>Toy Story 4</i> is not quite at the level of its predecessors, but it's yet <i>another</i> moving ode to obsolescence and what it means to be a toy, replete with great jokes and dazzling technological flexes. <i>Toy Story 4 </i>is a fantastic time at the cinema. Now please don't make <i>Toy Story 5</i>, Pixar.<br />
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<b><b>13. John Wick: Chapter 3 -- </b><b>Parabellum (Directed by Chad Stahelski)</b></b></div>
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The second installment of the <i>John Wick</i> franchise ended on a tantalizing tease: What if the man who seemingly can't be killed was being hunted by the entire criminal underworld? And right from its brutal opening salvo, <i>John Wick: Chapter 3</i> makes good on that promise, throwing inventive and entertaining setpieces at the audience in a dizzying succession. This latest entry in the series is everything you love about this franchise -- from its ridiculous mythology to its clean action choreography -- and gives you more of it than you could ever imagine having. The story may be pushing itself to the limit, but as long as <i>John Wick</i> can keep delivering incredible action filmmaking, let's pray he never dies.<br />
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<b><b>12. Booksmart (Directed by Olivia Wilde)</b></b></div>
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If you close your eyes and listen closely, you can still hear the splish-splash of white women's tears as they mourn <i>Booksmart</i> flopping at the box office. Jokes aside, it really is a shame that more people didn't see what should have been a major crowd-pleaser. Led by the great duo of Kaitlyn Dever and Beanie Feldstein, and populated by even more comedic talents in its supporting cast, <i>Booksmart</i> provides wonderful teen comedy antics with its "one crazy night" structure. But what truly makes it pop is its delightfully empathetic spirit, where everyone gets a moment to display their hidden depths. We may never get a R-rated comedy about teen girls again if the doomsayers are to be believed, but at least we got one as good as this.<br />
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<b>11. Marriage Story (Directed by Noah Baumbach)</b></div>
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Who knew we needed a procedural movie about divorce? That's how Noah Baumbach's latest Netflix exclusive movie plays. This isn't Baumbach's first ride around the divorce movie track, but this is a much softer, more sober look at the subject than <i>The Squid and the Whale</i> and is all the better for it. In its quest to tell a story about two people trying to have an amicable split and finding that that's not so easy, the film lands on so many subtleties and grace notes. You feel invested because the script drags you through every step of the process, from arcane divorce laws to awkward arbitration meetings. Noah Baumbach has had quite an impressive decade and with <i>Marriage Story</i>, he concluded it with another winner.<br />
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<b><b>10. Spider-Man: Far From Home (Directed by Jon Watts)</b></b></div>
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Though the era-concluding <i>Avengers: Endgame</i> was the MCU movie that made the most waves in 2019, their peak this year came in the form of <i>Spider-Man: Far From Home</i>. Peter Parker's second adventure in the Marvel Cinematic Universe found the series perfectly balancing the larger aims of labyrinthine continuity and the small stakes of teenage life. It's in the latter where the film truly shines, capturing the true Spider-Man charm in the adolescent hijinks of Peter's school trip to Europe, where everyone (including the fantastic supporting cast) gets time to shine. Sometimes some good old-fashion superhero fun is all you need.<br />
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<b>9. A Beautiful Day in the Neighborhood (Directed by Marielle Heller)</b></div>
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People often equate flashy directing with great directing, so it's easy to overlook the stellar work that's being done in <i>A Beautiful Day in the Neighborhood</i>. Though Mr. Rogers is the main selling point of the film, it really functions as an extended therapy session for Lloyd Vogel, the guarded journalist charged with profiling him. Director Marielle Heller achieves this with her use of close-ups, which transform the faces of her subjects into gigantic canvasses of emotion. And she exhibits a confident sense of patience as she lets the camera sit and watch small emotions and revelations play out uninterrupted. Like its jaded protagonist, you go in skeptical and come away completely buying into the magic trick. <i>A Beaufitul Day</i> is one of the most moving films I've seen in a long time.<br />
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<b><b>8. Us (Directed by Jordan Peele)</b></b></div>
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It's only once every few years that a movie comes along that's critically acclaimed and also becomes a cultural touchstone among casual moviegoers. Not only was <i>Get Out </i>one of those occurrences, but it was also a directorial debut on top of that. With the kind of pressure that was on Jordan Peele's shoulders, most wouldn't take as big of a swing as he did with his second offering. While it may not be as immediate and entertaining as <i>Get Out</i>, <i>Us</i> has that ability to etch its way into your brain. Peele plays cagey with the film's slippery metaphor, which has left many divided on what it actually means -- hence, all the Rorschach imagery in the initial promo art -- but its general ideas about the rot at the core of America and the dangers of trying to bury it are still fascinating, especially in the hands of someone with such a striking visual sensibility.<br />
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<b><b>7. Under the Silver Lake (Directed by David Robert Mitchell)</b></b></div>
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The funny thing about the year's most divisive film is that its supporters and detractors generally agree on what the movie is trying to get at, but they have differing angles on how to take it. Thus, liking or disliking it becomes a series of decision trees: Does the fact that it's satirizing the objectification of women in film allow it to engage in that same leering male gaze? Is the dunking on its yearner of a protagonist nullified by the film having at least some sympathy for his yearning? That's a fascinating litmus test, but debates around it tend to just arrive at dead ends. The detractors say "it's not as smart as it thinks it is" and the supporters respond to any criticism by saying "but that's the point," both of which tend to shut down interesting conversations. If you've seen the movie you're likely not going to be convinced from one side to the other, but its dangerous tightrope walk is what made it so compelling to me. It's playful and hypnotic and deeply despairing. All these things we pour our energy and passion into are not going to save us. <i>Under the Silver Lake</i> knows it won't either, and that's what makes it so good.<br />
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<b>6. Knives Out (Directed by Rian Johnson)</b></div>
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People like to throw around the term "genre subversion" when talking about Rian Johnson films, but that's a bit of a misnomer. Sure, there are high concepts and clever plot turns in his work, but they don't subvert the genre so much as they embrace them wholeheartedly. And <i>Knives Out </i>is a glorious send-up of the kind of Agatha Christie murder mystery you don't see anymore, complete with a hilariously complicated parlor room scene. Johnson revs up the plot with a madcap energy and populates the playing field with characters that function like broad 2019 avatars, mixing it all together for dizzying, dazzling fun. If all whodunnits can be this fizzy and euphoric, maybe the genre is due for a comeback.<br />
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<b><b>5. Ad Astra (Directed by James Gray)</b></b></div>
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<i>Ad Astra</i> serves as a sort of celestial cousin to James Gray's previous, earthly film <i>The Lost City of Z</i>. Both feature male protagonists who embark on obsessive quests to distant destinations in a search for answers. They both also feature men wrestling with the sins of their abandoned fathers. But <i>Ad Astra</i> makes <i>Lost City</i> look like a mere dry run, as it offers an even more moving and thorough psychological profile of its main character (Brad Pitt, in what turned out to be a banner year for him) and the prison of masculinity he finds himself trapped in. It may seem easy to dismiss the film as a mopey film about man pain, but it's not every day that something allows itself to be so nakedly earnest as <i>Ad Astra</i> is in its attempts to crack the shell of Pitt's character. <i>Ad Astra</i> is a gift. Don't be afraid to accept it with open arms.<br />
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<b>4. Little Women (Directed by Greta Gerwig)</b></div>
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This year's <i>Little Women</i> is the seventh film adaptation of Louisa May Alcott's classic coming of age novel, and you would think that there's no new ground to cover regarding this story from the 1860s, but writer-director Greta Gerwig's attempt feels refreshingly modern and spry. By playing around with the novel's chronology, she creates a version of this tale of four sisters where the golden-hued memories of girlhood and the frigid air of adulthood exist side by side. The film is an emotional spin cycle, painting the lives of the March sisters with warmth and humanity, which makes their tragedies all the more heart-wrenching. With <i>Lady Bird</i>, Greta Gerwig was flooded with breathless adulation and seen by many as the next great hope of cinema, and <i>Little Women</i> proves that she's more than deserving of such an anointment.</div>
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<b>3. The Irishman (Directed by Martin Scorsese)</b></div>
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We don't expect directors to maintain the vibrancy of their early years well into their 70s. Apparently Martin Scorsese didn't receive the memo, because even as so many of his other New Hollywood peers have fallen off or simply retired, he's still churning out blazing masterpieces at the age of 77. On a superficial level, <i>The Irishman</i> is a gangster epic like previous Scorsese touchstones such as <i>Goodfellas</i>, <i>Casino</i>, and <i>The Departed</i>, but there's an added elegiac quality that sets it apart. The film uses its titanic runtime to give weight to its story about the ravages of time, as protagonist Frank Sheeran is left with less as more years go by, until he's just a scraped out husk begging for absolution. It's a wrenching late-career statement with an overwhelming current of humanity. Scorsese can be the arbiter of what is and isn't cinema any time he wants to -- he's earned that right.<br />
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<b><b>2. Once Upon a Time in Hollywood (Directed by Quentin Tarantino)</b></b></div>
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Sitting through someone telling you about a dream they had is almost always torture, but apparently not when it's Quentin Tarantino. At least that's what <i>Once Upon a Time in Hollywood</i> feels like: an entrance into Tarantino's vision of a different yesterday, told through the sideways lens of the aging also-ran actor, Rick Dalton. The result is a surprisingly melancholic, tender, lived-in amble from a man who may be entering the twilight years of his own career. <i>Once Upon a Time</i> still has the Tarantino trademarks -- flashes of extreme violence, long wordy scenes, odes to the director's favorite curios -- but it's all a little softer, which is fascinating. Early reports surrounding the movie stated it would be about the Manson family murders, but it turned out that was just a Trojan Horse for a much more beautiful and generous film.<br />
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<b><b>1. Parasite (Directed by Bong Joon-ho)</b></b></div>
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Seeing Bong Joon-ho make East-West hybrids like <i>Snowpiercer</i> and <i>Okja </i>was all well and good, but many fiends were itching to see a return to that raw, uncut yayo from the Korean madman. He answered our prayers with <i>Parasite</i>, his wild film about an upper class Korean family, a poor Korean family, and how they intersect in ways too entertaining to reveal. What makes the movie such a feat is the way every element works in unison to further its examination of class and the lengths capitalism makes one go to in order to beat its game. And because Bong is such a master, he layers this all in the middle of a twisty, rollicking story that truly feels like it can go anywhere at any moment. Films often have a hard time being thoughtful and entertaining in equal measure, and <i>Parasite</i>'s effortlessness in doing so is what makes it a total gem.<br />
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Well, that wraps things up for my best films of 2019 list. I love reading other lists, so feel free to share yours in the comments. Or if you have any thoughts on my list, then you can do that too. To see a complete ranked list of all the 2019 films I've seen this year, along with a list of my favorite performances and some other data, you can find them on <a href="https://docs.google.com/document/d/1kLzBE3DmTjFt9UTXqilQcjwTE2Mi2y8rPfz3iRpsp-Q/edit?usp=sharing">this Google Doc</a>.<br />
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<b>Previous lists</b><br />
<a href="https://yeahthatantonio.blogspot.com/2018/12/my-20-favorite-films-of-2018.html">2018</a><br />
<a href="https://yeahthatantonio.blogspot.com/2017/12/my-20-favorite-films-of-2017.html">2017</a><br />
<a href="https://yeahthatantonio.blogspot.com/2016/12/my-20-favorite-films-of-2016.html">2016</a><br />
<a href="http://yeahthatantonio.blogspot.com/2015/12/my-20-favorite-films-of-2015.html">2015</a><br />
<a href="http://yeahthatantonio.blogspot.com/2014/12/my-20-favorite-films-of-2014.html">2014</a><br />
<a href="http://yeahthatantonio.blogspot.com/2013/12/my-20-favorite-films-of-2013.html">2013</a>Antonio Whiteheadhttp://www.blogger.com/profile/04683849518766835378noreply@blogger.com2