RIP Anne Rice

I haven't read any Anne Rice in more than 20 years, but I'll always fondly associate her early vampire novels with the time when I was a teen and really getting into reading voraciously (something which came crashing down when I entered the real world of employment/slavery). As a Christmas gift, my aunt bought for me a paperback set of the first three novels, despite her initial objections to buying something titled The Queen of the Damned. 

My book notes reveal that I was reading Interview With the Vampire at the time I graduated from high school in 1991, and I read the next two within a few months. My notes also indicate that I liked Queen best of the first three books, although that was not how I remembered it before digging out those old pages that meticulously document the books I read. I also read The Tale of the Body Thief, the fourth of The Vampire Chronicles series, a few years later, and that concluded my consumption of Rice's work. I think I sensed by that point she had said what she had to say. At times, I felt the series sagged under the weight of excessive historical detail, but I ultimately bestowed highly favorable ratings on each of the first three novels.

I admire Rice's deadly serious approach to the subject matter; she aimed to elevate the genre with an eye to being a lasting influence, and I believe she succeeded. I'm not sure the sophistication of the Sookie Stackhouse and True Blood stories would have emerged had Rice's treatment of the genre not happened. The idea of a vampire living as a rock star was a groundbreaking departure from caped bloodsuckers crawling up the exterior walls of castles to a young woman's window in the dead of night.

We'll be looking to the upcoming AMC series Interview With the Vampire, coming in 2022, as a fitting tribute to the queen of vampire horror.

Netflix's Midnight Mass is a revelation

I've taken note of the name Mike Flanagan. 

I've not seen much of his previous work. I liked Doctor Sleep (2019), the sequel to The Shining. A few years back, I panned his Ouija: Origin of Evil but noted some inspired flourishes; and, more recently, I bailed out on his The Haunting of Hill House series after one episode (we're going to give it another shot). But watching the seven-episode Midnight Mass proved to be a religious experience of the sort I haven't felt since the first couple of seasons of True Blood and, in movies, since the stunning twist of The Sixth Sense.

There aren't many new ideas in horror, and that's where Midnight Mass really delivers, taking the concept of the vampire to a place that some might find blasphemous, but I found its melding of vampire lore and Christianity brilliant and exciting. In terms of good and evil, it turns the concept of the vampire inside out. And it does so at a leisurely pace across seven hours; it takes a bit to fully realize what's going on here as the story establishes its territory with the return home of Riley Flynn (Zach Gilford), a troubled young man, and the arrival of Father Paul (Hamish Linklater), a young man of the cloth who … well, to say much more would enter spoiler territory.

There are no jump scares; it doesn't need them. The music, which often consists of gorgeous choir renditions of sacred hymns, and the sparingly used, something-creepy-is-about-to-happen parts, is outstanding. There are enormous passages of fascinating, hypnotic dialog, often delivered by Linklater, who was good as the brother on sitcom The New Adventures of Old Christine and is Emmy-worthy here. Another cast standout is Samantha Sloyan as Beverly Keane, an overly pious clergywoman whose intentions are always suspect.

At times, Midnight Mass becomes a profoundly philosophical meditation on existence, life and death. We immediately watched it a second time — something we never do — to revel in the nuance and the slow-burn dread. We're still haunted by it, still dissecting and discussing the details. As lifetime horror fans, we think it's an important work in the genre. I don't remember for certain if I've ever bestowed a divine 5 out of 5 rating to any piece of entertainment on this blog before, but here one is.

Seven things about Spotify's 2021 wrapped

 

1 // I don't usually post about Spotify's yearly recap because the bigger picture of my listening comes via last.fm scrobbling, which aggregates all of my listening on Spotify and the things that I play from my computer, but this year will be an exception. My overall year-end recap will be forthcoming, of course …

2 // In a bit of a shocker, Wrapped tells me I listened to more music this year than 65 percent of other listeners in the United States. I wouldn't have expected this, since I almost never listen at work, and with last.fm I'm rarely in the top 50 percent.

3 // I was a bit surprised to see Erasure as the most played artist (spoiler: They will not be #1 on the aggregated list). It must stem from the fact that I did not purchase a physical copy of their last album, The Neon, or any of its offshoot releases, such as the Ne:Ep. It's a decent album but not one I feel like I played that much. Their songwriting is not as sharp, in my view, over the last several albums. Wrapped says I was in the top 1 percent of Erasure listeners.

4 // Wrapped says I listened to 63 genres, and that's a good thing — I'm proud to be eclectic. New wave coming out on top is a reflection of all that '80s music, and too much of it gets labeled that way.

5 //  The artists on those top songs are, in order, Bieber, Dua Lipa, Simple Minds, Johnny Hates Jazz and Griff. Then and now, now and then.

6 //  Kudos to fairly obscure electronic / chillwave artist Brothertiger for edging into the top 5 artists. That's largely on the strength of his excellent rendition of Tears for Fears' Songs from the Big Chair album in its entirety.

7 // December 1 is too early to close the chart year — there are weeks to go.

Unmasking Information Society's ODDfellows bonus tracks

I recently got the physical CD copy of Information Society's latest album, ODDfellows, for which the bonus tracks are rather shrouded in mystery. Unless they were described in some "social media" comment thread, there is / was literally no information about them online, except that they are limited to the CD, which appears to only be on offer through bandcamp. So, this is a public service to identify and briefly describe the bonus material:

Track 11 - Might Have Been 4:13 // This is the reason to get the CD. "Might Have Been" is arguably better than most of the proper album; it's got a piano bit that lodges in the brain, and the song is one of the sort of mid-tempo grooves they do so well. It's also a tad dark, as if a pinch of Don't Be Afraid was thrown into the recipe.

Track 12 - World Enough (Phuzzed Up Mix) 5:13 // An unremarkable remix of one of the better tracks.

Track 13 - Escape from Murderapolis 1:02 // An instrumental trifle that seems rather pointless to include here at just a minute in length. Quite possibly from one of the guys' soundtrack work.

Track 14 - Slow-Scan 72 1:40 // This is one of their on-line scavenger hunts that I was never hacked enough to pursue.

Back in 2018, they sort of declared the album format dead and started chucking out a string of singles — "Nothing Prevails," "World Enough," "Room 1904" and "Bennington." These ended up being four of the 10 tracks of the new album, so it feels more like getting an EP's worth of new material here. The romantic rumination "World Enough" is the best of the bunch, another of those mid-tempo toe-tappers. Their 2014 return with _hello world remains the jewel of their late active period and, with Information Society (1988), is one of their two best albums.

Who is 'the host of Jeopardy!'?, part 2

200 // Setting aside any debate over the merits of Mike Richards’ character, this whole hosting kerfuffle has saved Jeopardy! from a wrong decision on host. Richards is not bad as a game show host — I liked him as host of GSN’s brief and surprisingly good revival of Pyramid in 2012 — but he is not The One. I do not condone the trend of random actors and third-tier comics getting game show hosting gigs, and this is a situation that needs something more, a bit of heft, like when Regis Philbin became host of Who Wants to Be a Millionaire.

400 // Mayim Bialik seems to be an acceptable answer. Some stuff has come out about strange things she has said but, thus far, not enough to get her canceled. Her turn as host was very solid, and she would only get better. So why isn’t she making it happen? A sitcom that no one knows about?

600 // Everybody loves LeVar Burton, but his performance did not look like The One. On a side note, I wanted him to stroll out onstage wearing his Star Trek visor.

800 // I had never seen or heard of David Faber, but I thought he did a smashing job. Smooth, engaging and in control, like a classic game show overseer. 

1000 // Ken Jennings would also make sense — he’s now in the DNA of the show and seems to be generally well-liked — but he has the disadvantage of having Tweeted.

Daily Double // As I’ve said before, there was already a very solid audition in the can from Jeff Probst, who nailed it as host of Rock & Roll Jeopardy! (1998-2001). And that completes my shortlist — Probst, Faber, Jennings and Bialik.

Final Jeopardy! // How appropriate that all this drama unfolds as the show gets one of its biggest champions of all time, Matt Amodio, who will resume his reign of terror when the new season opens Sept. 13.

Netflix's Black Summer

It’s like someone looked at The Walking Dead and said: What if we took out all the boring parts? Rather than concocting an elaborate new villian every time the crew moves to a new fracked up town, as The Walking Dead does (at least up to the point that I bailed out, which I think was season 4), what if it’s mostly just about getting from point A to point B? Also, change the zombies from lumberingly slow to super fast. Thus far, it’s a winning formula for Netflix’s Black Summer, a relentless exercise in zombie fight-or-flight tension. It’s best not to get attached to any particular character, because (spoiler) a lot of them don’t make it.

The story does not always unfold in a linear fashion, and I like how they’ve done it, going back to give us a bit of back story on something that just happened. Some have criticized the show for lacking character development, but I think Rose’s character is progressing just fine every time she blows away another non-zombie who’s gotten on her wrong side.

This show is derived from Z Nation, and the good news is that this is far better than that, based on the little bit of Z Nation I’ve seen. I’m not particularly a fan of the zombie genre and am perplexed by its enduring popularity — it seems a daunting task to bring anything new to its apocalyptic storylines — yet I tore through the two eight-episode seasons (season 2 just recently arrived) and was left wanting more when I came to the end. It’s pretty rare that I say that about a new show these days.

Score: Considered merely as escapist fare, it's a solid 4 out of 5.

Eight things about classic Price Is Right on Pluto TV

 A 24-hour loop of current episodes of The Price Is Right might be one definition of hell. But Pluto TV’s 24-hour-a-day classic The Price Is Right Bob Barker-era channel is pretty heavenly.

Some random observations:

• With my (lack of) luck, I’d probably win a sewing machine or a snowmobile. I always feel sorry for those contestants.

• Most of the episodes airing now are circa 1983, when it was apparently a legal requirement that all washing machines and clothes dryers were a sickly yellow color.

• What’s the deal with the 1980s obsession with brass beds? It’s a chintzy look.

• Contestants could reap the rewards of faithful viewership. Watching these shows, I quickly learned that the Haggar slacks are always $30.

• My dream would be to play Punch A Bunch (or is it Punchboard?). Assuming I earned all four punches, I would punch four consecutive spaces on the bottom row. Just because.

• Whoever built the games used too much lattice. Ten Chances looks like something your neighbor is trying to grow tomatoes on and might be a city code violation.

• Bob Barker had his occasional creepy and condescending moments, but he was peerless among game show hosts at building playful drama and anticipation, and I admire his love for game statistics and esoterica (“Has that ever happened before?”).

• It’s streaming on channel 163 on Pluto TV, which, many days, we watch more than “regular” television. That's really saying something, because we loathe sitting through commercials. Come on down!