Aaron Maurer @aaronmaurer - Tumblr Blog

TV I Liked in 2025

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

While I think the film landscape was significantly stronger than television in 2025, there were still a number of excellent shows out there. Notably, not one single series on my list aired on regular TV (although a couple were retroactively given network or cable runs, presumably significantly edited for content?). Returning to a conceit from a few years back, I’ve again divided TV my picks into new, returning and reboots or limited series. The distinctions between these categories are often arbitrary and nebulous—Task for example would have been a limited series, except HBO renewed it for another go ’round (it remains to be seen what if any cast will return and/or what throughlines from its initial outing will be continued), and the #1 in my “reboot” category is technically/actually a “returning” show. And should the Limited series really be lumped in with spin-offs and sequels rather than the New shows?

So, you know, take this all with a grain of salt, per usual.

New and Notable:

5. Pluribus: Season 1 (AppleTV+)

Vince Gilligan’s new sci-fi series about what makes humanity human and what happens when individuality ceases to exist isn’t one that I necessarily made appointment viewing. However, once I did get around to watching the episodes each week, I found myself reflecting on them more than just about any other show this year. Replete with striking images and an excellent central performance by Rhea Seahorn, Pluribus is one of the most thought-provoking shows on television.

4. The Studio: Season 1 (AppleTV+)

Seth Rogan and Evan Goldberg’s Hollywood satire could have been a little too glib and insider-y for its own good, however, the comedy is smart, the cast is winning and the filmmaking is aces (including implementation of many tracking shots/oners—especially the entire episode filmed as one).

3. Task (HBO)

The spiritual successor to creator Brad Inglesby’s Mare of Easttown is less of a mystery and more of a character study than that earlier series. This time out, the audience follows both law enforcement officers (an FBI task force) and the criminals they are tracking (a crew of stash house robbers who get in over their heads) from the outset. This lends it some of the magic of The Wire’s focus on the gray area that exists on both sides of the law, especially when economic opportunity is slim and justice has not been served.

2. The Lowdown: Season 1 (FX)

I was late to the party on creator Sterlin Harjo’s Reservation Dogs but once I finally caught up, it became a fast favorite, and I was not about to sleep on his follow-up. The Lowdown stars Ethan Hawke as a rangy muckraker in Oklahoma, investigating a death in a prominent family of developers that puts him at odds with pretty much everyone: law enforcement, white supremacists, politicians, moneyed elites (probably not a surprise that more than a few of characters check many of those boxes!). This premiere season has a clear overarching story but also makes time for more self-contained episodes and colorful guest stars: think of it as something akin to Justified: Tulsa.

1. The Pitt: Season 1 (Max/HBO Max) As good as you’ve heard, The Pitt (now back for its second season!) is a compelling and moving tribute to humanity and heroic healthcare workers. Its hook is that it takes place in close-to-real-time, with each episode comprising an hour of what will become a single shift over the course of the season. What might have been gimmicky (24 was always much more interesting in theory than practice for me) proves instead to be inspired, as the audience develops relationships with both the medical professionals and their patients over the course of the day and experiences the relentless pace of life in an emergency room.

Returning Favorites:

5. The Bear: Season 4 (hulu)

While this year’s episodes were more like a continuation of Season 3 than their own fully-contained arc and featured a certain amount of treading water, The Bear remains the most beautifully shot and performed show around.

4. A Man On The Inside: Season 2 (Netflix)

One of my most beloved shows of 2024 returned with a new focus in Season 2: a mystery set on a college campus rather than the previous retirement community. The new actors (including David Strathairn and Mary Steenburgen) prove great additions to the ensemble and the welcome returning faces (including Stephen McKinley Henderson and Stephanie Beatriz) are incorporated naturally in spite of the location change.

3. Poker Face: Season 2 (Peacock)

In the stretch of episodes that now look to be the end of this Rian Johnson-created howcatchem (at least its Natasha Lyonne-centered iteration), continuing storylines are blown up, status quos are upended and surprising twists lead to big payoffs. Some episodes are more successful than others (your mileage may vary on the elementary school-set gerbil murder, for example), but there’s no arguing the overall quality or the greatness of the minor league baseball and con job episodes.

2. Andor: Season 2 (Disney+)

Arguably the best Star Wars property ever firmly cements its place in the cannon with a second and final season that innovates on its format (each set of 3 episodes takes place one year apart, leading ever closer to the events of Rogue One and by extension A New Hope) while retaining its riveting plotting and character work. So many of the best science fiction and fantasy stories are allegorical reflections of our own world and Andor’s exploration of the rise of fascist imperialism could not be timelier. And the final shot of the series is absolutely perfect: powerfully heartbreaking, but hopeful (I can only imagine how it hits if you are a parent).

1. Severance: Season 2 (AppleTV+)

Even with some plot diversions in its second season, which leads to a more uneven viewing experience overall, Severance remains the most compelling and transfixing thing on television. The beauty of episodes like “Chikai Bardo” is undeniable and the catharsis (and pain) of the finale palpable. This show has now managed the same feat twice: a climax that provides both fulfilling answers & character development and mystery & suspense as a cliffhanger.

Spin-offs/Reboots/Legacyquels/Limited Series:

5. Daredevil: Born Again: Season 1 (Disney+)

As far as shows that are massively retooled mid-production go, this extension/reboot of Netflix’s Daredevil series for Disney+ is surprisingly coherent. That isn’t to say there aren’t any rough patches over the course of its 9 episodes, but the show manages to integrate its characters into the MCU rather seamlessly while maintaining what made its previous iteration so successful. I’m cautiously optimistic to see what directions the second season takes later this year.

4. Death By Lightning (Netflix)

This 4-episode exploration of the election and assassination of James Garfield is a well-realized, lively and appropriately disquieting (if sadly not unfamiliar) portrait of one opportunist’s desperate delusions of grandeur in contrast to an unassuming president averse to playing politics. Excellently cast all-around, with Michael Shannon’s Garfield and Nick Offerman’s Chester A. Arthur being especially notable.

3. The Paper: Season 1 (Peacock)

Although it’s a spinoff of The Office, taking place in that show’s universe and co-starring Oscar Nunez as connective tissue, The Paper really feels more like Parks and Recreation in its centering of an idealistic well-meaning protagonist faithfully serving a societal institution, in this case a new editor trying to revive a local newspaper in Toledo, Ohio. While tonally a little wobbly in this initial season (traits it shares with both of those other shows), it at least has a good grasp on its level of heightened reality from the jump (meaning it won’t be as jarring when it veers further into absurdity as the likes of its predecessor and Abbott Elementary have).

2. Adolescence (Netflix)

Remarkable from both a technical and performance standpoint—each of its 4 episodes being comprised of a single continuous take—Adolescence deals with the aftermath of violence on family and community. I admire the restraint of the series but can’t help but think it might have benefited from another episode or two to more fully acknowledge the victim & her family and the longer-term impact on classmates, among other perspectives. Even so, it’s appropriately heartrending and chilling.

1. The Rehearsal: Season 2 (HBO)

Is this actually a reboot rather than a returning series? Probably not. But since the season has such a singular (and different) focus than its first, it feels fresh and worthy of distinction. Here, Nathan Fielder takes his concept of “rehearsing” major or anxiety-provoking life events with elaborate scenarios including sets and actors to the commercial airline industry. Under the auspices of preventing accidents caused by pilot communication issues, Fielder stages a singing competition, staffs an entire (fake) airport terminal, relives the life of Captain “Sully” Sullenberger, and constructs a finale so audacious it left me speechless.

Bonus! Honorable Mentions:

NEW

Black Rabbit (Netflix) – So much more successful than Ozark (which I found to be a relentlessly punishing slog). Part of that is Jason Bateman actually being allowed to exude some humor and charm here, and part of that is its consistently thrilling momentum.

The Four Seasons (Netflix) – Tina Fey’s adaptation of an 80s Alan Alda film (which I have never seen) has a good hook, is a good hang, and proves unexpectedly poignant.

Paradise (hulu) – Compulsively watchable (kind of elevated) dumb fun, the TV equivalent of a beach read/page-turner (i.e. what I wish AppleTV’s adaptation of Dark Matter had been).

RETURNING

The Diplomat: Season 3 (Netflix)

All Creatures Great and Small: Season 5 (PBS)

Conan O’Brien Must Go: Season 2 (Max/HBO Max)

Upload: Season 4 (Amazon Prime Video)

#television #tv

Music I Liked in 2025

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I listened to quite a bit of music in 2025, but the records that got their hooks into me stuck around and asserted themselves in my rotation throughout the year. I discovered some new acts, got reacquainted with a few returning favorites and celebrated the continued quality of recent darlings. While I typically share around 15 albums, options beyond these seemed more uneven and less endearing to me so I decided to cap it at 12 this time.

Here’s a mix of selected tracks from each record to aid with sampling (via Deezer since Spotify has been platforming ICE recruitment ads, but you can export to your preferred music app):

Some favorite tracks from my favorite albums of 2025

12. Jens Lekman – Songs For Other People’s Weddings

Released in tandem with a novel of the same by David Levithan (which I have not read), Swedish troubadour Lekman’s Songs For Other People’s Weddings is a characteristically witty and winning concept album inspired by his years side-hustling as a wedding singer.

11. Bartees Strange – Horror

Strange’s latest record is a diverse mix of eccentric indie, acoustic singer-songwriter fare and abrasive electrorock, all of which adds up to another compelling statement from an idiosyncratic talent.

10. Beach Bunny – Tunnel Vision

Chicago’s indie pop punk stalwarts’ latest is another acid-tinged mix of self-reflection and societal interrogation wrapped in pink bubble gum.

9. The Wombats – Oh! The Ocean

The Wombats haven’t lost a step as they’ve entered the 2020s, delivering yet another high-energy collection of hook-laden alt-rock brimming with Britpop flair in Oh! The Ocean, a consistently enjoyable listen from start to finish.

8. Paul Meany – Forever Phase

The former MuteMath frontman’s solo debut is a fine continuation of that band’s legacy, replete with electronic experimentation, lovely melodies and introspective lyrics.

7. Jay Som – Belong

After spending the six years since her previous record working on side projects, producing for other acts and performing as part of boygenius’ touring band, Jay Som finally released a new solo album in 2025 and it is worth the wait. Influences from 1990s alternative, 2000s emo and 2010s indie cross-pollinate to create something that sounds both nostalgic and of-the-moment; and guest spots from the likes of Jimmy Eat World’s Jim Adkins and Paramore’s Hayley Williams sweeten the pot.

6. Skullcrusher – And Your Song is Like A Circle

I confess that I have fallen off from regular listening to many music podcasts including NPR’s All Songs Considered. It’s fortuitous, then, that one of their “new music” episodes I did happen to catch last year featured an early single by new-to-me artist Skullcrusher, whose sophomore album I quickly pre-saved. Upon its release months later I was blown away by the beautiful, enveloping, ethereal soundscapes and it hasn’t left my rotation since.

5. Alex G – Headlights

Alex G opens up his sound further than ever without sacrificing his winning quirkiness on this major label debut, resulting in some beautifully memorable music including my favorite song of the year, “Afterlife.”

4. Matt Berninger – Get Sunk

Berninger’s second solo record is stronger than the past few National records, making for his finest work in years. If you’re a fan of that band, do not sleep on this one, probably my most listened to album of 2025.

3. Lord Huron – The Cosmic Selector Vol. 1

A contender for Lord Huron’s best record to date (I may personally still give a slight edge to Strange Trails), The Cosmic Selector Vol. 1 offers the range of styles that its jukebox artwork and title suggest, from the spoken word-driven “Who Laughs Last” to airy torch songs like “Is There Anybody Out There” and the roots country-inflected “Watch Me Go” to the wistful “Used To Know.”

2. Turnstile – NEVER ENOUGH

Continuing to evolve their sound from the accessibly catchy GLOW ON toward even more spacious soundscapes that at times evoke the likes of the Police—without abandoning the heaviness of their hardcore roots—Turnstile have created an immersive album experience with their latest.

1. Hayley Williams – Ego Death At A Bachelorette Party

Initially dropped as a collection of 17 singles, the third solo effort from Paramore’s frontwoman may be eclectic, but it benefits from being collected as an album (with three additional tracks) to fully appreciate its range and depth. Ostensibly a breakup album, the songs also touch on mental health, religious hypocrisy and the larger cultural moment. There was no better surprise in 2025.

#music

Movies I Liked in 2024

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2024 was an interesting movie year – due to the aftermath of the prior year’s actors and writers strikes, it featured a mix of finished films held over from 2023 and smaller independent features with shorter production timelines, meaning the release schedule was kind of all over the place. There wasn’t anything close to the cultural impact of “Barbenheimer” but there were a lot of good (and even great) films throughout the year. In fact, for the first time (I think?), I’m featuring a ranked “Top 15” rather than a “Top 10” and have a few more Honorable Mentions on top of that.

15. Rebel Ridge (Netflix)

A winning twist on the “one man versus the system” action subgenre, Rebel Ridge is maybe the most overtly entertaining message movie of the year. The film tackles racial profiling, police corruption and abuse of power with a commanding lead performance by Aaron Pierre and great supporting turns by Don Johnson and AnnaSofia Robb. It’s a shame its Netflix distribution means it didn’t get a proper theatrical release because this would be gangbusters on the big screen.

14. Monkey Man (Blu-ray, VOD, Prime Video)

I’m not the biggest fan of revenge and/or fighting films—nor do I have robust cultural knowledge of the Eastern mythology this story draws from—but the verve and visual flair of Dev Patel’s assured filmmaking debut kept me rapt through all of Monkey Man’s journey.

13. The Brutalist (Theatres)

I’m of two minds about Brady Corbet’s AMERICAN OPUS: on the one hand, it’s one of the least subtle films of the year and owes a lot to other epics from the likes of PT Anderson, Scorsese and Nolan (and that doesn’t even touch on the recently reported AI controversies which seem in opposition to the underlying message of the film); on the other, it’s undeniably compelling, visually striking and feels like the EVENT its 3-hour-and-35-minute running time (including 15-min Intermission) and VistaVision cinematography promise. Worth seeing; not in my Top 10.

12. Conclave (Blu-ray, VOD, Peacock)

The movie equivalent of a great airport novel (which is essentially what this is based on, though I haven’t personally read it yet), Conclave is a riveting drama of political intrigue set in the Vatican during the selection of a new Pope. The performances, direction and score all combine to elevate the material to its optimal heights.

11. A Real Pain (Blu-ray, VOD, Hulu)

The forced intimacy of travel, especially international travel, can strain any relationship, but it has an even greater opportunity to fray every last raw nerve when your companion is in many ways your polar opposite. Writer/Director/Star Jesse Eisenberg’s astutely observed portrait of two very different cousins retracing their family history in Poland is by turns wonderfully funny, full of life and incredibly stressful. While odd couple narratives are nothing new, Eisenberg and Kieren Culkin excel in their roles here, bringing humanity and empathy to both characters, who could each stand to benefit from the other’s influence.

10. Blitz (AppleTV+)

Steve McQueen’s World War II-set drama takes the form of an episodic adventure that follows a young mixed-race boy trying to return to his mother in London during the Blitz and her experiences there during said bombing raids. Centering its narrative around a child makes its immediacy feel remarkably visceral and its heightened/raw reality feel emotionally true. I’m very glad I made the decision to get out to see it on the big screen during its small theatrical run. One of the most moving films of the year.

9. A Different Man (VOD, Max)

So bitterly funny with so many layers, A Different Man is an acid satire of identity and self-loathing with pitch-perfect performances from Sebastian Stan and Adam Pearson. While The Substance appears to have stolen the spotlight for heightened allegories about appearance, this film worked far more consistently and effectively for me, walking a knife’s edge of tone that I ultimately found wholly satisfying.

8. Hit Man (Netflix)

Very loosely inspired by a true story, Richard Linklater’s Hit Man deconstructs the contract killer genre to hilarious effect while also telling an engaging – and rousing – love story built on the indelible charisma of leads Glen Powell and Adria Arjona. I’m not sure I’m fully on-board with the film’s conclusion but it at least has the capacity to spark discussion, showing it has more on its mind than most rom-com and/or crime thriller fare.

5. (tie) Jim Henson: Idea Man (Disney+), Eno (Special Theatrical Screenings, 24-hour livestream 1/24), Butterfly In The Sky (VOD, Netflix)

Three excellent and endlessly inspiring Documentaries about creativity and process tie for my next three spots.

Ron Howard crafts a beautiful tribute to a creative genius and true visionary in Jim Henson: Idea Man through a mix of new and archival interviews as well as a trove of behind-the-scenes footage. There are some moments of filmmaking novelty but for the most part, Howard lets the content speak for itself. I could watch a million more hours of this.

Speaking of watching a million hours of content, that theoretically could be possible with Eno, the biopic of musician/producer/artist Brian Eno from director Gary Huswit (Helvetica, Rams) in which a bespoke algorithm pulls from a database of hundreds of hours of video to generate a new version of the film for every screening. I saw two different editions in two different cities this year and the underlying structure is incredibly sound, allowing for the archival footage pulled by the program to interact with contemporary interviews in a way that the brain will find connections between even if somewhat unintentional. I was (and maybe still am) skeptical of the nature of this piece but have found it to be incredibly inspiring and very well curated.

Finally, Butterfly In The Sky tells the story of childhood public television staple Reading Rainbow (and by extension, that of host Lavar Burton) in a film that makes an excellent companion to 2021’s Street Gang: How We Got to Sesame Street. Hearing from the creators of the program is a window into altruistic passion for children and education, and it provides a beautiful testament to the important of public funding for the arts.

4. I Saw the TV Glow (Blu-ray, VOD, Max)

As a 90s kid whose adolescence was full of Goosebumps books and an obsession with the X-Files (plus Are You Afraid of the Dark? whenever we visited grandparents and had access to cable), I find the fluorescent-tinged VHS tape aesthetic of I Saw The TV Glow immaculate. With vibes upon vibes and a continuous succession of haunting and arresting images, the film puts a Millennial spin on Lynchian dream logic as it investigates nostalgia, memory, media consumption and identity/gender dysphoria. One of the most visually striking & captivating films of the year, with an unnervingly ambiguous ending that deserves all the style points.

3. Sing Sing (Theatres)

A testament to the humanizing power of the arts, Sing Sing ups the ante on standard “based on a true story” fare by starring many of the actual former inmates who went through the eponymous prison’s theatre program. Colman Domingo shines as the film’s beating heart and Clarence “Divine Eye” Maclin plays himself to transformative effect. In a country that seems to have ceded its judicial system to punitive rather than rehabilitative justice, this film offers proof that the latter is a far more effective and humane path.

2. Dune: Part Two (Blu-ray, VOD, Max, Netflix)

Truly epic in scale and scope, the continuation—and superior evolution—of Denis Villeneuve’s adaptation of the first Dune novel is a feast for the senses and Pure Cinema. That it manages to be accessible and relentlessly entertaining while still idiosyncratic and esoteric is something of a minor miracle (compare to the incredibly bureaucratic, dry and inert HBO prequel series Dune: Prophecy to see how easily it could have gone wrong). As a fantastically realized interrogation and deconstruction of the hero’s journey / “chosen one” narrative, the film reveals power and destructive violence as the death knells of idealism and honor.

1. Nickel Boys (Theatres)

A visionary work of literary adaptation, RaMell Ross’ Nickel Boys puts the audience inside Colson Whitehead’s incredible novel through a stunning filmmaking conceit. Malickian in its immersive Impressionism, the film combines deft use of first-person perspective (note the times the POV shifts “out of body”) with equally adroit use of metaphoric archival footage. It all adds up to a deeply moving exploration of the trauma caused by systemic exploitation & brutality and the search for ways to confront, survive and transcend it. Simply stellar filmmaking.

Bonus! Honorable Mentions:

A Quiet Place: Day One (Blu-ray, VOD, Paramount+, Prime Video) – A surprisingly moving and, at times, even beautiful prequel that ends up being the best of its series

Civil War (Blu-ray, VOD, Max) – Alex Garland’s most accomplished directorial effort to date is a visceral and all-too-believable portrait of journalistic courage in a country that has abandoned its ideals

Challengers (Blu-ray, VOD, Prime Video) – Engaging and energetic as hell; even if you see the {ahem} climax coming a mile away, it’s still incredibly satisfying

Perfect Days (Blu-ray, VOD, hulu) – (2023 holdover) A lovely meditation on finding joy and wonder in the mundanity of life that proves director Wim Wenders is as vital now as he’s ever been

One Life (Blu-ray, VOD, Showtime) – (2023 holdover) A deeply felt portrait of the impact that can be made by even a small and committed few against forces of tyranny in the world

#film

Music I Liked in 2024

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

What to say about the Music I spent the past year listening to? 2024 another year without much discovery for me, with no debut albums or artists making my regular rotation. I also probably didn’t listen to as much music overall as some recent years, so perhaps continuing to even recap this medium has become tedious or futile. That said, I still enjoyed a lot of releases by both perennial and newer favorites, so here’s a list (again alphabetized by artist) of 15 albums worth taking for a spin.

Per usual here’s a playlist of songs from these records for your sampling pleasure:

Abandoned Pools – The Haunted House

Tommy Walter’s project (perhaps most famous for the theme song to Clone High) returned for the first time in over a decade with a beguiling new collection of moody and moony melodies.

Bonny Light Horseman – Keep Me on Your Mind/See You Free

An ostensible double album (albeit one that fits on a single CD, if that’s your preferred physical media format), Bonny Light Horseman’s third record of signature neo-folk is no less warm and gorgeous than their prior outings.

Charly Bliss – Forever

Charly Bliss’ continued evolution from the 90s riot grrrl-inspired grunge of their debut Guppy to the pretty and polished power pop of third full-length Forever may be unexpected, but when the tunes are this good, who cares about any genre gate-keeping? Forever is a fantastic collection of shimmering songs about love and longing that deserve a bigger stage.

Coldplay – Moon Music

Is Moon Music top tier Coldplay? No. Is Moon Music a significant improvement over predecessor Music of The Spheres? Without a doubt, yes. Still finding the band in “global pop” mode, there are no shortage of the quasi-embarrassing BIG SWINGS found on any later-day Coldplay record, but the hooks are stronger and the emotions more deeply felt. Slot this one somewhere around Mylo Xyloto and Everyday Life.

The Decemberists – As It Ever Was, So It Will Be Again

The latest from Portland’s indie royalty has almost the flavor of a mixtape, with styles ranging from the Squirrel Nut Zippers-ish “Oh No!” to the country-tinged “Long White Veil” to the Picaresque-esque “America Made Me” to the 19+ minute prog mini-epic (aka the MOST Decemberists-ist) “Joan in the Garden.” A welcome return.

Geographer – A Mirror Brightly

Mike Deni’s newest collection of swoony synth-pop is decidedly upbeat affair, with lively melodies and sparkling hooks.

Pearl Jam – Dark Matter

There’s nothing exactly ground-breaking about Dark Matter, but it proves a solid outing from Eddie and the boys, mixing heavier fare like “Running” and the title track with the more introspective likes of “Wreckage” and “Won’t Tell.”

Snow Patrol – The Forest Is The Path

Snow Patrol may be well past their time in the spotlight, but Gary Lightbody and Co still know how to make deeply felt and searching rock music with this album of layered songs that get their hooks into you.

Tall Heights – Softly Softly

A return to more of the folk-inflected mode of their first couple albums (after leaning into a bit more of an electro-pop vibe on Juniors), Softly Softly has no shortage of hauntingly elegant harmonies and the unique sound that comes from instrumentation provided primarily by just a cello and acoustic guitar.

Travis – L.A. Times

Travis’ profile may not have kept pace with their peers Coldplay, but they’re also still reliably putting out new music and also released a new album in 2024. L.A. Times is a fine mix of pub-ready singalongs and signature evocatively yearning anthems.

Taylor Swift – The Tortured Poets Department

I can’t make any real claims to being a Swiftie, only favoring a couple of her “Eras” (Red and Everlore), and finding Midnights to be uneven at best, so I’m clearly not the best source for either the objectivity or subjectivity to appropriately rate TTPT. And while I recognize that it isn’t the best album in her catalog, it is also the release I probably spent the most time with in 2024. The record’s introspective moods and interrogations of heartbreak were an apt soundtrack to most of my year.

Vampire Weekend – Only God Was Above Us

The fifth LP from Vampire Weekend manages to simultaneously sound almost nothing like what you might expect while still undeniably the work of this particular band. Tighter and more immediate but no less experimental than Father of the Bride before it, Only God Was Above Us proves that any release from Ezra and the Chrises is still appointment listening.

Young Oceans – Somehow I Know It’s Love

I’ve never been much for the bombast and performative nature of most “worship” music, but thankfully there are artists like Young Oceans creating meditative spiritual work more akin to art-rock that invites actual introspection.

Various Artists – American Football (Covers)

I came to American Football late, missing their 1999 debut when it arrived but discovering them upon their 2010s reformation and subsequent releases. I have since grown to love LP1 as well and its 25th anniversary brought not only a remaster but also this thoughtfully curated companion of covers. Artists including Iron & Wine, Blondshell, Ethel Cain and Manchester Orchestra interpret and interpolate the emo masterpiece in fittingly loving and lovely tribute.

Various Artists – I Saw The TV Glow OST

The soundtrack to Jane Schoenbrun’s 1990s-set psychological thriller is a perfectly evocative accompaniment to the film, with artists leaning into sounds befitting the era and aptly complementing its uncanny visuals.

#music

TV I Liked in 2024

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2024 was a year of some great TV and plenty of “mid” TV (you know: perfectly serviceable/proficient, often with a great cast or significant A-Lister attached, but at the end of the day, not really doing much of anything except existing). I recognize that things hit differently for people (i.e. Shogun didn’t really transcend being just a handsome TV product for me beyond a couple excellent performances, although I see its cultural value), but I ultimately found a lot of what I watched to be mostly white noise (or is that TV static?). So the things that stood out shone all the brighter.

14. Echo (Disney+)

2024 may have been a (much needed) reset year for Marvel Studios, but its live-action television offerings are both solid. Echo spins off from Hawkeye by taking the title character back to her roots in Oklahoma as she grapples with her past traumas and Native heritage. Centering a deaf, female POC amputee, the show offers powerful representation, and despite some apparent behind-the-scenes retooling that compressed its initial episode order (mostly felt in occasional rushed stretches toward the end) it works quite well as a character piece and extension of the more “street-level” Marvel world.

13. Girls5eva: Season 3 (Netflix)

The too-short third (and sadly, now final) season of this resurrected comedic masterpiece (after its prior Peacock cancellation) finds the Girls on tour, in just about all the worst places you could imagine to try and mount a buzzy comeback. The goofball energy and mile-a-minute joke pace remain intact, producing a strong and fitting—if premature—send-off.

12. The Lord of the Rings: The Rings of Power: Season 2 (Amazon Prime)

The second season of Amazon’s LOTR without LOTR series probably won’t convert any skeptics, as it is nowhere near as compelling as the first outing overall, sadly. An intriguing premiere gives way to a kind of listless, murky middle (the episode lengths are unnecessarily lengthy); that said, the final 2 installments really stick the landing. It remains one of the most utterly gorgeous productions on television.

11. Conan O’Brien Must Go: Season 1 (Max)

Conan O’Brien’s welcome return to TV screens this year may only have lasted an initial 4 episodes, but he hasn’t missed a beat as his zany and irreverent brand of humor – plus genuine curiosity – pay comedic dividends in this new travel show. Not terribly different in form than his prior Conan Without Borders travel specials, Must Go does involve a conceit of Conan surprising local fans in the countries he visits which adds another level of local flavor and (relative) authenticity to the proceedings.

10. The Diplomat: Season 2 (Netflix)

Coming off a stellar cliffhanger, the second season of this terrific Keri Russell-starrer offers plenty more political intrigue and, well, diplomacy. The show manages to walk a fine line of making a somewhat dry subject engaging and compelling without tipping over into melodrama or implausibility, thanks to both its smart scripts and strong performances.

9. Agatha All Along (Disney+)

Essentially a spin-off sequel to WandaVision, Agatha All Along isn’t quite as singular but still offers a lot of fun genre riffs and compelling performances as Kathryn Hahn’s Agatha Harkness and her makeshift coven journey down the Witches’ Road.

8. Disclaimer* (AppleTV+)

There is no shortage of limited series based on novels kicking around various streaming services these days, and most of them are content to be the equivalent of breezy beach reads with handsome casts and heightened melodrama. Leave it to writer/director Alfonso Cuarón (Children of Men, Gravity, Roma) to simultaneously elevate and comment on the genre with his adaptation of Reneé Knight’s novel of the same. What initially appears to be another cleanly appointed domestic drama full of titillating buried secrets gradually reveals itself to be much more, touching on perspective, revisionism, power dynamics, trust and trauma. Cuaron’s use of long shots remains unparalleled and his employ of varied filmmaking techniques throughout the series instills appropriate tension and intrigue before all the dominoes fall.

7. The Bear: Season 3 (Hulu)

While not The Bear’s strongest outing thus far (perhaps inevitable in that it’s essentially half a season with no real resolution to any arcs), Season 3 still manages to display artistry and humanism that stand apart from the rest of the television landscape. High points include the Malickian visual poetry of the premiere and the Tina-centric flashback “Napkins,” and when those are among your apexes it seems unreasonable to complain about anything.

6. True Detective: Night Country (HBO)

I didn’t follow HBO’s anthology series past its original incarnation, but an infusion of fresh creative talent with Issa López taking the reins make Night Country worth a visit. This tale finds Jodie Foster and Kali Reis as policewomen forming an uneasy alliance to investigate a bewildering (supernatural?) occurrence at an Alaskan research station and its possible ties to the murder of a native female activist. The efficient 6-part series doesn’t overstay its welcome and offers plenty of indelibly haunting images and dream logic appropriate to a setting without daylight.

5. What We Do In The Shadows: Season 6 (FX)

For its final outing, WWDITS continues its unimpeachable streak as one of the most consistently hilarious and outrageous comedies on TV. An appropriately meta and self-referential series finale cements its status as an all-timer.

4. Bad Monkey: Season 1 (AppleTV+)

I’ve never read any Carl Hiaasen so I can’t say whether or not this adaptation of his novel is faithful. I can say I found Bill Lawrence’s production to be an enjoyably dark comedic adventure buoyed by another of his signature great casts, led by Vince Vaughn in his most winning performance in years. Reminiscent of something from Elmore Leonard in the best way.

3. Shrinking: Season 2 (AppleTV+)

I quite liked the first season of Shrinking — it made my list last year — but Season 2 is a gift: warm, engaging and deeply moving. Harrison Ford remains an unexpected comic delight, Jessica Williams continues to be a great hang and co-creator Brett Goldstein shines in a powerful new role, but it is Jason Segal who provides the heartbeat of the show as his strong comedic chops deftly make way for a deep well of dramatic vulnerability.

2. A Man On The Inside: Season 1 (Netflix)

I shouldn’t have doubted a new collaboration between The Good Place creator Michael Schur and star Ted Danson, but initial descriptions of A Man On The Inside (widower goes undercover at a retirement community to try and solve a theft) sounded a little too gimmicky for my taste. I’m so glad I decided to give it a shot anyway because I was treated to one of the most beautifully humane and touching shows of the year. Danson excels in another standout performance and the supporting cast, especially the seniors, are uniformly terrific.

1. Ripley (Netflix)

Steven Zaillian’s adaptation of The Talented Mr. Ripley may initially sound redundant, what with the highly-regarded Anthony Minghella film in existence, yet it quickly establishes its own hypnotic rhythms. My favorite series of the year features stunningly composed black and white cinematography that both alienates and enthralls. There’s a queasy thrill in watching Andrew Scott’s opportunistic sociopath commit his crimes; you almost root for him to succeed, yet does that make you accomplice to deceit, theft & murder? The Caravaggio references are icing on the cake. While a limited series for now, there is hope that perhaps Zaillian and Scott might return for future adaptations of other Ripley novels, a prospect I am fully in favor of.

#tv #television

TV I Liked in 2023

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Even with the interruption of many series due to the writers and actors strikes, there was no shortage of first-rate television in 2023. This year, to account for both novelty and sustained excellence, I’ve broken my Top 15 shows into 3 categories: “New and Notable,” “Returning Favorites” and, to reflect the sheer number of years-later follow-ups, “Reboots, Revamps and Resurrections.” These distinctions might be a little murky in some cases, but it gives some framework to reflect on the year that was. As always, I make no claims to completism (I still haven’t seen a single episode of Succession 😬); these are merely some standouts that I would say are worth your attention.

New and Notable:

5. Shrinking: Season 1 (AppleTV+)

A fun new dramedy from Bill Lawrence, Jason Segal and Brett Goldstein, Shrinking starts a bit gimmicky but quickly turns into an opportunity to just hang out with the eminently entertaining likes of Segal, Jessica Williams and Harrison Ford (in a terrific comedic turn). While some of the blame for Ted Lasso’s shaggy final season might be attributed to Lawrence’s showrunning departure to move to this series, it’s at least led to something worthwhile thus far.

4. The Diplomat: Season 1 (Netflix)

I’d follow Keri Russell just about anywhere, and though I had worried her new show wouldn’t be much more than a melodramatic procedural, my fears were allayed by a series that thoughtfully – and entertainingly – unpacks foreign diplomacy and international intrigue without ever straining credulity. Add to that one of the most stunning cliffhangers of the year and I am all-in for Season 2.

3. The Last of Us: Season 1 (HBO)

As someone who is neither an avid gamer nor a big fan of zombie-adjacent horror or survivalist narratives, I would not have thought The Last of Us would have much to offer me, but I’m glad I gave it a chance. From the excellent cast to the riveting episodic storytelling, the show transcends its genre trappings to say a lot about community/found family, trust, power dynamics and more.

2. The Muppets Mayhem: Season 1 (Disney+)

This new series chronicling the adventures Dr. Teeth and the Electric Mayhem is the most fun and tonally on-point Muppets project since the 2011 Jason Segal movie. The series perfectly captures the madcap yet heartfelt spirit of Jim Henson’s creations while winningly bringing them into the 21st century in a less forced way than the recent Muppets Now. (While it could be eligible for the third category of this list, since it’s a new creative team and with a specific focus, I’m sticking with the “New” designation.)

1. Poker Face: Season 1 (Peacock)

This new “howcatchem” (as opposed to “whodunnit”) series from Rian Johnson (Looper, the Knives Out movies) is lots of fun. A little of Natasha Lyon goes a long way for me, but I think she does great work here as the series lead alongside a rotating cast of fun performances. The show does a fine job of balancing fulfilling self-contained stories with an underlying arc to the season that pays off nicely.

Returning Favorites:

5. Perry Mason: Season 2 (HBO)

In its second (and, sadly, final) season, HBO’s Perry Mason reboot is less bleak and more assured, hitting its stride. The mystery is engaging & relevant, the smoky Terence Blanchard score is note-perfect and the excellent returning cast is matched by game additions including Katherine Waterston and Hope Davis. Here’s hoping the Downeys can find a way to continue it in some capacity elsewhere.

4. What We Do In The Shadows: Season 5 (FX)

Still one of the most reliably hilarious and offbeat shows on the air, even in its fifth season, WWDITS simply boasts one of the best casts and wittiest writing in comedy today. If nothing quite reaches the very-high highs of prior years, storylines including Guillermo’s slow transition to vampirism, Lazlo’s roast, Nadja’s “curse,” and Colin Robinson’s political campaign for comptroller nonetheless provide plenty of fodder for laughs.

3. Reservation Dogs: Season 3 (FX)

After starting and stopping a couple times, I finally took in all of Sterlin Harjo’s exceptional comedy in 2023. While the Season 2 finale would have been a perfect series capper, this third season is a victory lap that affords the opportunity to continue exploring core themes of native spirituality, community, life and death. I can’t think of a recent series that includes more age diversity among its cast and celebrates what different generations have to offer each other. A truly beautiful treasure of a show.

2. Loki: Season 2 (Disney+)

While I quite liked the first season of Loki, I wasn’t convinced I needed a second. Imagine my surprise – and delight – when Season 2 managed not just to surpass the original run but fully stuck the landing in a finale episode that pulls everything together (pun intended) to result in one of the most satisfying conclusions in all of the MCU (especially arriving on the heels of franchise low point Secret Invasion). Putting aside the Jonathan Majors of it all, the rest of the season is a fun mix of time-travel espionage and time-loop hi-jinks that fires on all cylinders. Not to mention the continued excellence of its returning cast, plus additions like Ke Huy Quan, and incredible production design/effects work.

1. The Bear: Season 2 (hulu)

The Bear isn’t always an easy watch (see: the anxiety attack that is “Fishes”) but it is always utterly compelling. Its second outing ultimately serves as beautiful ode not just to the culinary industry but to creative professions in general, as well as the importance and power of collaboration & teamwork to bring out the best in one another, while challenging the myth of self-sufficiency / tortured genius and its destructive power (as well as negative self-talk). A truly bravura season that outshines even the first.

Reboots, Revamps and Resurrections:

5. Justified: City Primeval (FX)

I was somewhat skeptical of a reboot of Justified, one of my all-time favorite shows, but the idea of a limited series integrating protagonist Raylan Givens into the narrative of another Elmore Leonard novel turned out to be a good one. First, we have the chance to see Raylan in one of Leonard’s favorite settings, Detroit (though weirdly shot in Chicago…), and Second, we have the chance to address some of the societal reckonings around law enforcement that have occurred in the time since the original series ended. While I never considered the show to be full-out Copaganda (Leonard was a crime novelist and always populated his work with those working both inside and outside of the law), there are still valid interrogations of the criminal justice system to be made, all while spinning a riveting yarn featuring Boyd Holbrook as the sociopathic “Oklahoma Wildman” Clement Mansell wreaking havoc on Raylan’s stay in the Motor City.

3. (tie) Clone High: Season 2 (Max) and Futurama: Season 8 Part 1 (hulu)

Two of my all-time favorite animated series returned in 2023 after long absences.

Clone High, prior to this a one-season wonder from Phil Lord and Chris Miller (The LEGO Movie, 21 Jump Street, the Spider-Verse movies, etc.), returned with an eye toward expanding its cast to reflect more diversity as well as a more current take on high school. While this means some of the humor of its pairing broad teen archetypes with historical figures was a little lost (none of the new Zoomer characters have as strong a foothold as, say, JFK as jock or Joan as goth) and there aren’t as many specific “very special episode” tropes being skewered, there is still a lot of fun to be had, especially as the season finds its groove in the back half.

Futurama, in its now – I think – fourth iteration, gained a solidly familiar new life on hulu. The first batch of episodes don’t add any new cast members or break the mold too much from prior incarnations, but they’re reliably enjoyable on the whole (the episode with all the faux toy commercials notwithstanding).

2. Party Down: Season 3 (Starz)

Most many-years-later television reboots or continuations suffer from not being able to *quite* match the precise vibe of their original runs and end up feeling like zombie shows that are a little off. Party Down’s third season, coming 13 years(!) after its second, may be the best continuation ever in terms of tonal accuracy. Despite certain stars appearing in a quite different capacities, the addition of new cast members and the absence of Lizzy Caplan, the show is as depressingly funny as ever and manages to make sense of the elapsed time for its characters via the in-show wake of the pandemic. Six episodes seems far too little, but honestly, it’s a minor miracle that we even got these.

1. Fargo: Season 5 (FX)

Given that Fargo is an anthology series with a new cast and storyline each season, this slot seems a better fit that “Returning” since it’s not a direct continuation of anything before. And coming after a largely unfulfilling (albeit entertaining) fourth outing, Season 5 feels like a breath of fresh, crisp, cold Minnesotan air. Although only 7 (of 10) episodes aired in 2023 after its release was pushed back to November, I’m still confident in including it here because, well, what a season! From the engaging performances (especially the incredible Juno Temple, 180 degrees from Keely in Ted Lasso) to the bravura cinematography & direction to the continually entertaining riffs on themes from the Coen Brothers filmography (and an outstanding finale, even though that just aired in 2024), this ranks right up with Season 2 as a series best. Can’t wait to see what creator Noah Hawley has in store next.

Bonus! 10 More (in alphabetical order):

Abbott Elementary: Season 2 (ABC) – Quinta Brunson’s loving public school mockumentary continues to shine in the back half of its extended second season, showcasing one of the best comedic ensembles on television

All Creatures Great and Small: Season 3 (PBS) – still one of the loveliest and coziest comfort food shows around, even as it deals with the looming specter of WWII

Barry: Season 4 (HBO) – an uneven final season that still packs in a lot of unparalleled sequences and an uncompromisingly bleak finale

Beef (Netflix) – a slightly drawn-out but compelling limited(?) series buoyed by Steven Yeun and Ali Wong’s lead performances and expertly deployed early 00s needle drops

Full Circle (Max) – a multi-layered crime caper miniseries from Steven Soderbergh with a stacked cast including Claire Danes, Timothy Olyphant, Zazie Beetz and CCH Pounder

How To With John Wilson: Season 3 (HBO) – the final season of Wilson’s uniquely quirky yet humane documentary series goes even more places you wouldn’t expect

Mrs. Davis (Peacock) – a nearly impossible-to-describe and truly outré, yet heartfelt, sci-fi-ish dramedy/satire from Tara Hernandez and Damon Lindelof that explores faith, artificial intelligence, capitalism, sociopolitics and more; quite a ride!

Scott Pilgrim Takes Off (Netflix) – an anime retelling of the Scott Pilgrim graphic novels/movie that interrogates its story and recenters other characters; fun, charming and even a little thought-provoking

Upload: Season 3 (Amazon Prime) – Greg Daniels’ wild dystopian future-set sitcom continues to expand beyond its initial premise with wild plot-turns, but at the end of the day, its charismatic leads and great supporting cast make it a great hangout show

Welcome to Wrexham: Season 2 (FX) – Wrexham’s second season continues its winning formula of mixing coverage of the action on the pitch with stories of the club’s history, staff and supporters, adding up to much more than a typical sports doc

#tv #television

Movies I Liked in 2023

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2023: Good Movie Year! Despite the writers and actors strikes resulting in a lot of releases being pushed to 2024, there was still a wealth of cinema to choose from. Many of my favorite directors made excellent films and there were many others that I admired, even if I didn’t quite connect with them (i.e. Poor Things, Dream Scenario, Past Lives). Here then, my 10 favorites, plus a few honorable mentions:

10. How To Blow Up A Pipeline (VOD, hulu)

The heist movie as a piece of compelling agitprop (or maybe vice versa), How To Blow Up A Pipeline turns a nonfiction treatise on climate activism into an expertly structured thriller. The film traces a diverse group of characters with varying motivations in their common journey to disrupt a the seemingly intractable foothold the oil industry has on contemporary society through sabotage. Regardless of your political leanings, it’s a white-knuckle ride that provides a lot of food for thought.

9. Air (Blu-Ray, Amazon Prime)

Yay, brands?, Part 1. This telling of the origins of the Air Jordan shoe (and Nike’s relevance to the basketball market in general) boasts a whip-smart script resulting in a surprisingly funny movie (which is way better than if it were self-serious) with terrific performances by the likes of Matt Damon and Jason Bateman. Unlike this year’s Blackberry (also excellent), Air is too much of a brand/corporate-controlled product to be satirical, yet it manages to transcend most of that dubiousness through sheer likeability. Its triumphs are ultimately commercial, though, so it leaves you feeling a little grody about rooting for millionaires to become even richer.

7. (tie) The Killer (Netflix) and Mission: Impossible – Dead Reckoning Part One (Blu-Ray, VOD)

Two of my favorite action-oriented films of the year.

David Fincher’s The Killer is, at once, a classic revenge thriller and a rebuke of the same, highlighting the mundanity of its hitman protagonist’s existence, the hypocrisy with which he lives his life and the futility of his chosen profession. It has the verve of a Steven Soderbergh film and its episodic nature makes it ideal for rewatching.

The latest Mission: Impossible, my favorite action franchise, comes on the heels of what has become my favorite entry in the series, so it can’t help but suffer a bit by comparison. That said, it’s still a high-octane thrill ride of a movie, with riveting setpieces and a climax that continually had my heart in my mouth.

6. Asteroid City (Blu-ray, VOD, Amazon Prime)

This year’s full-length Wes Anderson confection is a nesting doll of a film that boasts frame story within frame story, yet somehow through its artifices still manages to connect on an emotional level as it deals with grief, age and the unknown — all while taking place during a youth astronomy convention that gets visited by aliens. As you do. Boasting another truly incredible cast of stars and Anderson regulars, the film is loaded with great comedic moments and singularly immaculate production design.

5. Barbie (Blu-Ray, VOD, Max)

Yay, brands?, Part 2. Sure, you can argue the merits of its existence, but in the same year that saw huge box office returns for the utterly bland brand-extension that is Super Mario Bros., at least Barbie had something to say. Many things, actually; about women, patriarchy, societal roles, perfectionism, horses, etc. If you’re going to turn a massive toy property into a movie, you could do a lot worse than involve the likes of (co-)writer/director Greta Gerwig and stars Margot Robbie & Ryan Gosling. Plus Michael Cera as Alan, the stealth winner of the movie. I love both of Gerwig’s previous directorial efforts and I assumed there would be moments of emotional resonance, but I was not expecting just how laugh-out-loud funny this movie is; my favorite straight-up comedy of the year.

4. Spider-Man: Across the Spider-Verse (Blu-Ray, VOD, Netflix)

I enjoyed 2018’s Into The Spider-Verse, but despite its innovative animation it didn’t quite crack my Top 10 that year. Its sequel manages to be no less groundbreaking (through incredible visuals that are often like moving paintings) or grounded (through character relationships that are given moments to breathe amid the action), while amping things up on all levels. Whereas the first movie brought several characters from other realities into that of protagonist Miles Morales, in this one, Miles visits several other realities himself, each of which is rendered in its own unique aesthetic. Moreover, Miles is not the sole protagonist — this time out Gwen Stacy kicks off the story and the film is as interested in her emotional journey as his. In a year of superhero fatigue, Across The Spider-Verse shows that there is still life in the genre, when humor and heart are involved.

3. Killers of the Flower Moon (VOD, Apple TV+)

Martin Scorsese has spent a career training his camera on the evil — specifically the violence and greed — men do. Killers of the Flower Moon adapts David Grann’s true crime book about a series of murders of wealthy Osage Nation members and the early days of the F.B.I. into something more narrowly focused yet more powerful for it. It can be tempting to look away, or misinterpret it as glorification, but Scorsese dares you to witness these acts. To sit with them and behold their perpetrators as their justifications, rationalizations and patronizations fly; and to hold those perpetrators to account. The final two scenes of the film hold a tension and a release: the recognition of who has told and been telling this story, and a final shot that hints at what has been lost culturally (and really, in every way since the Doctrine of Discovery to begin with) by such gatekeeping. A masterpiece.

2. The Holdovers (Blu-Ray, VOD, Peacock)

The latest film from Alexander Payne is a warm and charming dramedy about a trio of misfits who are left to “celebrate” the holidays together at a New England prep school in the 70s (with production design that feels right out of the era). Paul Giamatti, Da’Vine Joy Randolph and newcomer Dominic Sessa are all pitch-perfect, bringing a depth of humanity to their characters as they deal with personal tragedies small and large. Immensely satisfying and sure to be a new alternative Christmas classic.

1. Oppenheimer (Blu-ray, VOD)

Christopher Nolan’s biopic of J. Robert Oppenheimer is ostensibly a period piece, but unlike many other historical dramas or “great man” epics, it feels thrillingly alive, propulsive and current, never getting stuck in nostalgia. It’s pop avant garde history, akin to Damien Chazelle’s portrait of Neil Armstrong, First Man, where the sound design and cinematography emphasize the enormity of the events being witnessed while the performances keep things grounded and all-too-human. Despite its dozens of characters, multiple timelines and 3-hour runtime, there is a flow to this film; a feeling that Nolan is orchestrating things as a conductor would a symphony. Every piece fits and every piece matters. And at the end of things, there is the overwhelming WEIGHT of what has transpired, and the contrast between the animating forces of the universe with the pettiness and self-interest of the people who seek to harness them.

Bonus! Honorable Mentions:

American Fiction (Theatres) – a clever trojan horse of a family dramedy in the guise of cultural satire

Blackberry (DVD, VOD, AMC+) – an immensely engaging look at the rise and fall of the titular tech company; while brands were big at the movies this year, this one wasn’t afraid to focus on corporate greed

Dungeons & Dragons: Honor Among Thieves (Blu-Ray, VOD, Paramount+, Amazon Prime) – I have never played D&D and am not a big RPG guy period, but the charming cast and the script & direction from the team behind Game Night make this a surprisingly fun watch even without context

Rye Lane (hulu) – a super-charming British rom-com with charismatic leads and a visual flair beyond the genre’s usual sameness

The Zone of Interest (Theatres) – like Killers of the Flower Moon, Jonathan Glazer’s latest film focuses on mundanity of evil and systems of violence, while not completely ignoring small acts of defiance

#film

Music I Liked in 2023

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Although I didn’t discover a lot of new artists in 2023, many of my favorites put out new records that I really enjoyed. Rather than forcing them into any sort of order or tiers this year (since that could honestly change day-to-day), the following recommendations are simply presented in alphabetical order by artist. Check them all out!

Or, failing that, here’s a playlist of songs from my top 15(ish) records for your sampling pleasure:

Andrew McMahon In The Wilderness – Tilt At the Wind No More

I’ve found Andrew McMahon’s post-Jack’s Mannequin output to be a little hit-or-miss, but the most recent two albums, this one included, hit in all the right ways. A collection of perfect power pop-punk walls of sound like album-opener “Lying on the Hood of Your Car,” lead single “Stars” and my personal favorite, “Submarine,” that grow on you with each listen and invite sing-alongs at every chorus.

Belle and Sebastian – Late Developers

Less than a year after releasing 2022’s excellent A Bit of Previous, Belle and Sebastian delivered another winning collection of indie confections in Late Developers. From warm blankets of melody like “Give A Little Time” and “The Evening Star” to the chamber pop of “Will I Tell You A Secret” to the synth-rock dynamo “I Don’t Know What You See In Me,” one of the catchiest songs I heard in 2023, the record is proof Stuart Murdoch and Co. still have a lot up their sleeves.

blink-182 – One More Time…

As a fan of 2019’s Nine, I wasn’t convinced that a reunion with Tom DeLonge was essential for blink-182 to make worthwhile music, but I’m still glad the guys could patch things up and get back into the studio together. One More Time… may not be quite as expansive as its predecessor, but it’s a solid addition to the band’s discography with shots of adrenalized pop-punk infused with the experience of age (though not necessarily maturity…).

boygenius – the record & the rest EP

A lot of the 2023 indie rock discourse revolved around the first full-length record from Lucy Dacus, Phoebe Bridgers and Julien Baker’s collaboration, and while I like it quite a bit, I find it doesn’t quite cohere enough to hit the heights of the individual outputs of each artist (or their 2018 EP) for me. That said, when it goes, it really goes — the soaring harmonies of “Not Strong Enough” prove it deserving of every Song of the Year accolade it’s been nominated for, and “Satanist” is a winkingly fun riff-rocker (that is to say, they picked the right two songs to play for their SNL performance this year). The valedictory lap of the rest EP is a less essential, yet nice, treat from a trio of excellent songwriters enjoying a breakthrough year.

Fireworks – Higher Lonely Power

I missed the train on emo stalwarts Fireworks’ early 2010s heyday but got onboard with this new record thanks to a couple podcast and blog recommendations upon its release on New Year’s Day 2023. Call it “Faith Deconstruction: The Album” – an interrogation of American Evangelicalism and rumination on life after it. The opening screamo burst of “God-Approved Insurance Plan” quickly cedes to more melodic and probing tunes like “Megachurch,” “Jerking Off The Sky” and “Blood In The Milk.” The beautifully wistful album closer “How Did It Use To Be So Easy?” may very well be about a romantic breakup, but to my ears, it might be narrated by God themself, assuring the listener that “you could be happy without me:” the ultimate “come to me all you who are weary and heavy-laden and I will give you rest,” when the burden is religion itself.

Foo Fighters – But Here We Are

The Foos’ strongest effort since 2011’s Wasting Light sadly comes in the aftermath of drummer Taylor Hawkins’ death (as well as that of Dave Grohl’s mother). The vibes hearken back to their 90s best, with melodic prowess to match the more hard-rocking moments.

Peter Gabriel – i/o

More than two decades after his last album of original material, Peter Gabriel’s completed i/o arrived in December 2023 (after monthly song drops throughout the year). Worth the wait, the record comes in multiple mixes (I am currently partial to the Bright-Side Mix) and features his uniquely accessible art-rock, blending moody atmospheres with big pop hooks. While Gabriel reflects on the darkness in the world and our technological age, he shares moments of great hope and uplift, none more so than the record’s closing salvo “Live and Let Live,” a gorgeous tribute to peace and unity and those who came before that we can look to for guidance.

Gorillaz – Cracker Island

Gorillaz’s latest record is a very vibe-y affair, awash in hazy, vaporwave-inflected synth grooves without sacrificing any of Damon Albarn’s aptitude for writing indelible hooks. This collection of songs is one I’ve returned to time and time again since its February release.

Great Lake Swimmers – Uncertain Country

The latest collection of indie folk from Toronto’s Great Lake Swimmers has an inviting, communal feel that is easy to get lost in. This is partially attributable to choral accompaniment on a number of songs as well as several snippets of studio banter that bring the record to life, pushing against the isolation of the pandemic era during which it was conceived. The beauty and hope of the songwriting (and its reflections on the natural world) shine a light out of that darkness.

Grouplove – I Want It All Right Now

Another shimmering collection of hook-laden songs find California collective Grouplove firmly in their zone of cathartic sing-along rock mixed with quieter ballads. While I Want It All Right Now doesn’t necessarily reinvent the wheel, it slots right in among the best of their output.

Joy Oladokun – Proof of Life

Proof Of Life is one of those records that seems at once both familiar and fresh, as Joy Oladokun shares introspective reflections on race, faith and sexuality with impeccable artistry. Collaborations with the likes of Manchester Orchestra, Mt. Joy and Chris Stapleton add texture to the mix but take nothing away from her own voice which rings out strong and clear. A favorite of the year.

The National – First Two Pages Of Frankenstein & Laugh Track

The National overachieved this year by releasing two full-length records less than five months apart. First Two Pages… is a bit more subdued overall and I think I currently prefer Laugh Track as a whole, but I wouldn’t eliminate any tracks from either. Both albums reward repeat listens and have a lot to offer fans of the band.

The New Pornographers – Continue as a Guest

Any year with a new New Pornographers record is a treat and Continue as a Guest is a winning addition to the Canadian indie rockers’ catalog. A range of diverse instrumentation including synths and woodwinds adds new colo(u)rs to the band’s palette and although the pandemic-influenced lyrics delve into isolation and malaise, it doesn’t come at the expense of their trademark popsmart melodies, adding up to an enveloping listen I kept on repeat for much of the year.

Paramore – This is Why

Following the new wave-influenced After Laughter, Paramore continue to evolve their sound with This Is Why. The post-punk-leaning production creates space for jagged guitar riffs, grooving basslines and driving percussion while Hayley Williams’ dynamic vocals glide over top. Can’t wait to see where they go next!

Sufjan Stevens – Javelin

Javelin marries Sufjan’s gift for intimate balladry with his penchant for excessive sound collages, in all the best – and most heartbreaking – ways. Songs often begin softly and soon explode into multi-layered vocals and instrumentational flourishes, with deeply felt lyrics about love and loss. What first seemed like a breakup album was made all the more poignant by the revelation that it was inspired by the death of his long-time partner earlier in the year.

BONUS! A Few More Recommended Listens From Perennial Favorites

Andrew Bird – Outside Problems

Dave Matthews Band – Walk Around the Moon

Manchester Orchestra – The Valley Of Vision EP

Metric – Formentera II

Noel Gallagher’s High-Flying Birds – Council Skies

#music

Music I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2022 was a good music year, alt/indie rock-wise, anyway. I found that each season brought a different favorite, so much like last year, trying to rank them would be quite arbitrary. Once again, I’ve put my recommendations into three tiers as well as a couple bonus categories for further listening.

Here’s a playlist of songs from my top 15(ish) records for your sampling pleasure:

Tier 3: Worth A Listen

Belle and Sebastian – A Bit Of Previous

A quite catchy and fun return-to-form from the Scottish indie rockers.

Dayglow – People In Motion

For his second record in as many years, Sloan Struble leans back into the electropop of his debut, resulting in the poppiest and most consistent Dayglow release yet.

Dermot Kennedy – Sonder

While not quite as folk-inflected as his debut, Kennedy’s sophomore full-length is a solid and soulful collection of lovelorn pop jams.

First Aid Kit – Palomino

Sweden’s Söderberg sisters latest LP features a great collection of sweeping pop anthems and lush harmonies.

PUP – THE UNRAVELING OF PUPTHEBAND

This record from Canada’s PUP is a super meta and darkly comic blast of pop-punk energy, featuring imagined meetings with record executives and existential ruminations on life as a professional musician.

Tier 2: Appointment Listening

Anaïs Mitchell – Anaïs Mitchell and Bonny Light Horseman – Rolling Golden Holy

Hadestown creator Anaïs Mitchell had a busy year, releasing her first solo album in almost a decade in January and then a sophomore album with Bonny Light Horseman in October. Both are lovely collections of poetic folk-rock.

Beach Bunny – Emotional Creature

Following up on 2021’s excellent Blame Game EP, the second full-length from Beach Bunny is a great mix of pop-rock tunes, by turns introspective and propulsive.

Metric – Formentera

The latest from synth-rock powerhouse Metric is another excellent blend of indelible hooks and Emily Haines’ reflective lyrics.

Spoon – Lucifer On The Sofa

I’m not a Spoon megafan, but their latest record is an undeniable mix of rootsy guitar riffs and grooves that stands with the best of their catalog.

Tall Heights – Juniors

Juniors is a bit more pop-oriented and less folky than their previous efforts without losing their signature transportive soundscapes.

Tier 1: Highest Recommendation

Alex G – God Save The Animals

A fully-realized synthesis of Alex G’s most melodic songwriting and quirkier impulses, God Save The Animals ruminates on subjects of faith, love, and the beauty and darkness of the human condition. As compelling and mysterious as ever.

Bartees Strange – Farm To Table

The sophomore LP from idiosyncratic singer/songwriter/guitarist Bartees Strange is an adventurous fusion of styles and influences, with affecting personal lyrics including reflections on subjects including his experience as a military brat, the pandemic and the death of George Floyd.

beabadoobee – Beatopia

A lovely bedroom pop record that recalls female-fronted 90s dream pop and alt-rock, Beatopia feels both familiar and fresh, like making a new friend you feel like you’ve known forever.

Stars – From Capelton Hill

Very much a pandemic record, the latest from Canada’s Stars is nonetheless beautiful and moving, with resonant themes of loss, isolation, connection, and through it all, the slightest glimmers of hope.

The Wombats – Fix Yourself, Not The World and Is This What It Feels Like To Feel Like This? EP

I hadn’t fully connected with Liverpool’s Wombats before, but their latest full-length caught my attention with a collection of hook-laden tunes evocative of the 90s Britpop explosion’s best. The companion EP from later in the year is no less catchy or popsmart.

BONUS! Other Favorite EPs of the Year

Khruangbin & Leon Bridges – Texas Moon

Following on their Texas Sun EP from 2020, Khruangbin and Leon Bridges’ latest collaboration is another smooth collection of tuneful psych-rock, culminating in personal song-of-the-year contender “Mariella.”

Of Monsters and Men – Tíu

I’ve fallen off on OMAM a bit over the past few years, but this EP commemorating the 10th anniversary of their debut is a compelling reminder of what makes them special.

DOUBLE BONUS! Streaming-Only Albums

So, I’m very much an outlier in how I listen to music, preferring to buy physical copies of albums rather than paying for streaming services. As such, I use the likes of Spotify mainly to preview records before purchasing from the artists and since its free version only allows shuffle mode on mobile devices, I end up not spending as much time with albums I don’t own.

I really like each of these records but as I hold out hope for CDs or vinyl someday, I have yet to buy digital versions and haven’t listened enough to slot them among the other picks above.

The Big Pink – The Love That’s Ours

Ethel Cain – Preacher’s Daughter

Gungor – Love Song to Life

John Van Deusen – (I Am) Origami Pt. 4 – Marathon Daze

Taxes – Retirement Home

#music #Spotify

TV I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2022 brought plenty of new continuing and limited series of note, while returning shows retained the qualities that set them apart to begin with. There were outstanding series finales and expectation-defying debuts. This year I’ve divided my list into new shows (which I’ve folded the Disney+ Marvel shows into because there were only three of them, and two of them were pretty great!) and returning highlights. I also threw in some honorable mentions for additional viewing, if you’re really looking for content this winter.

New and Notable:

9. (tie) Winning Time: Season 1 (HBO) and Welcome to Wrexham: Season 1 (FX)

I’ll kick off my list of new shows with a couple of very different series about sports that are united by being compulsively watchable and each balancing a comic touch with more dramatic moments.

Winning Time is a fictionalized (highly, according to some reactions) account of the beginning of Los Angeles Lakers’ 1980s “Showtime” era with the signing of Magic Johnson. Adapted by Adam McKay (The Big Short, Vice), the series is hyper-kinetic, using a mix of film stock and camera formats (including grainy Super 8), plenty of fourth wall breaking by its characters and a heightened sense of reality. It’s A LOT – reveling in the excess of its era and subjects, maybe too much? – but I ultimately find it fun and compelling, especially the performances including John C Reilly as team owner Jerry Buss, Jason Segal as interim coach Paul Westhead, Adrien Brody as reporter-turned-assistant coach (and future head coach) Pat Riley, Quincy Isaiah as Magic himself, Wood Harris as struggling forward Spencer Haywood and Solomon Hughes as superstar center Kareem Abdul-Jabbar, just to name a few of the absolutely STACKED cast. I didn’t even mention Sally Field! Or Tracy Letts! And the list goes on and on!

Welcome to Wrexham, on the other hand, is a documentary about actors Rob McElhenney and Ryan Reynolds’ recent purchase of a bottom-tier Welsh soccer club. As a big fan of the sport I knew I’d get around to it eventually, but I put off watching for awhile because I’m not a big fan of Reynolds’ smarmy “lovable asshole” stage persona and I figured the show was kind of a Johnny-come-lately riding the coattails of the likes of Ted Lasso’s success. That said, I was unprepared for how balanced and well-made this series is. It certainly spends plenty of time with Rob and Ryan (who both come off amiable and endearing), but more on the actual inner workings of the club and their supporters and community. I appreciated the ongoing narrative arc of the season being supplemented with focuses on specific aspects of the game like hooliganism and tournament play as well as spotlights on individual players, staff and supporters. There have been plenty of soccer documentaries before, but this one is a top-notch love-letter to the glories and heartbreaks of the beautiful game.

8. Ms. Marvel (Disney+)

The introduction of Kamala Khan/Ms. Marvel to the Marvel Cinematic Universe could have fallen into the clichés of melodramatic teen drama, but it mostly avoids them through the centering of its charming Muslim cast of characters, bringing fresh perspective to the genre. It also features innovative effects work and vibrant art direction that bring Kamala’s inner world to life and provides fun glimpses at “ground-level” life in the MCU (i.e. an Avengers fan convention she attends early on).

7. She-Hulk: Attorney at Law: Season 1 (Disney+)

I didn’t know that I needed a straight-up half-hour superhero sitcom in my life (although my love of all iterations of the Tick may have been a sign), but She-Hulk: Attorney at Law is an utter delight that rewards fans of even the most obscure minutiae of the MCU while remaining funny and accessible to more casual viewers. Guest appearances from existing characters (Daredevil, Wong, the Abomination) work like gangbusters, and introductions to some of Marvel’s most D-List heroes and villains (Leap-Frog, Porcupine, Mr. Immortal, etc.) are wonderfully absurd. The show’s comic book-accurate fourth wall breaking is employed well, and the completely meta finale episode skewers the MCU and its tropes in winning fashion.

6. Abbott Elementary: Seasons 1 and 2 (ABC)

Just when it seemed the mockumentary genre was completely beaten into the ground, Quinta Brunson’s Abbott Elementary came along to prove that great humor can enliven any format. The ABC sitcom centers on a public elementary school in Philadelphia, focused primarily on the teachers and staff, though the students sometimes take the spotlight as well. While it doesn’t shy away from depicting the challenges of underfunded institutions, the series is chiefly a vehicle for big laughs and big heart and a salute to public servants.

5. The Sandman: Season 1 (Netflix)

As a comic book fan in the 90s, I heard a lot about Neil Gaiman’s Sandman comics via the likes of Wizard magazine without ever actually having read any issues (mainly because I was a kid then and it was on a “mature” imprint). I was intrigued when I learned it was becoming a Netflix series but also didn’t really think it’d be for me – I tend more toward superhero fare than the dark fantasy/lite horror it traffics in. But upon watching the series, I found myself swept up in the tale and won over by both its world-building and excellent cast. While it occasionally veers into over-exposition and slight disjointedness (from mixing highly serialized storytelling with abrupt pivots to standalone episodes), its artful, impressionistic effects and thematic resonances (hope, change/growth, dreaming itself) more than make up for its shortcomings.

4. The Lord of the Rings: The Rings of Power: Season 1 (Amazon Prime Video)

This recommendation comes with the caveat that I am not by any means a J.R.R. Tolkien fanatic, having only read The Hobbit years ago and finding his ornate prose impenetrable for my personal taste, so I cannot speak to Rings of Power’s fidelity (or lack thereof) to the source material. And while I love the original Peter Jackson LOTR film trilogy in all its Extended Edition glory, I barely made it through the first Hobbit film and skipped the next two altogether, as I found them way too esoteric and tedious. I feared something similar with this Amazon Prime prequel series, assuming I’d be bored to tears by Middle Earth history I’d find dry and listless. This proved another pleasant surprise then, as once I gave it a shot, I found myself fully engaged in the story, characters and magnificent visuals – the production design is seriously gorgeous and I could watch cameras exploring these new corners of Middle Earth all day. I also appreciate the series’ themes of light and dark, while adding some shades of gray that lend a bit more complexity to Tolkien’s world, even among his most disposably “evil” adversaries, the Orcs. You! Shall! Not! Pass! (on this show, or you’ll seriously be missing out)

3. Andor: Season 1 (Disney+)

Turns out 2022 was really a year of genre shows that defied my skepticism. I saw 2016’s Rogue One: A Star Wars Story when it was released and liked it okay but with a number of caveats, and frankly, had zero interest when I heard a prequel series was coming based on Diego Luna’s Cassian Andor character (even though I like Luna!). Well, it turns out that Andor is not only the hands-down-best of the year’s three new live action Star Wars shows but possibly the best one to date (sorry Grogu, I still love you) — and maybe even the best SW content since the original trilogy?

The series’ focus is the inner-workings of the Rebel Alliance under the growing influence of the fascist Empire, and while I often found those elements of the movies a bit dry, creator Tony Gilroy brings them to life like a white-knuckle spy thriller (fitting, as he wrote the Bourne trilogy scripts). There are other genre influences that come into play as well, such as film noir, the futuristic neon dystopia of Blade Runner, heist films, prison escape movies, comedies of manners and more. This first season is comprised of satisfying three-to-four-episode arcs which keep things moving like a well-oiled Death Star assembly line. Bravo.

2. The Bear: Season 1 (hulu)

A riveting portrait of familial obligation and the food service industry, hulu’s The Bear chronicles a celebrity chef returning to his home of Chicago to take over an Italian beef stand left to him by his brother. The scripts are taut, the cast is uniformly excellent, the filmmaking is invigorating and the 90s alt-rock soundtrack is expertly deployed. If its Chicago references aren’t always 100% accurate, I’ll give it a pass for capturing the spirit of the city, its food culture and its people. Yes, Chef!

1. Severance: Season 1 (Apple TV+)

Severance first appears to be something of a hybrid of great influences: the mundane bureaucratic dystopias of Terry Gilliam’s Brazil, Netflix’s Maniac, Eternal Sunshine of the Spotless Mind and Black Mirror all come to mind. But rather than feeling derivative, this darkly comedic sci-fi exploration of the divide between work life and home life has a unique and captivating vision of its own, with indelible characters, led by Adam Scott’s Mark S. Episode 9, “The We We Are,” is best season finale I’ve seen in years, an incredibly tense and satisfying blend of questions answered and stakes raised. Bring on Season 2!

BONUS: Animated Special

The Boy, the Mole, the Fox and the Horse (Apple TV+)

The short film adaptation of illustrator Charlie Mackesy’s deeply felt book is a gentle, meditative and gorgeously animated rumination on life, friendship and purpose. While there is a narrative arc to the special, it doesn’t feel forced but instead true to the spirit of the more unstructured source material. A touching note to end the year on.

A Few More Worthwhile Debuts:

A Friend of the Family (Peacock) and Under the Banner of Heaven (hulu) – have yourself a Mormon true crime double-feature! (Or maybe don’t – they’re both intense!)

Grand Crew (NBC) – a fun network hangout sitcom with a winning cast

We Own the Streets (HBO) – a limited series based on a true story of police corruption in Baltimore that’s basically a Wire reunion

The Afterparty (Apple TV+) – come for the great cast and creators, stay for the incredible Ben Schwartz-focused musical episode!

Great Seasons of Returning Favorites:

5. Barry: Season 3 (HBO)

In its latest season, Barry is hard to watch but even harder to look away from, a show that feels as compellingly fractured as its characters, as pitch-black darkly comedic as ever. Hader’s titular Barry is less a person than a zombie at this point, in fruitless, soulless pursuit of some sort of purpose or redemption, which, [spoiler alert!] will not find him. Everyone else is likewise just spiraling out for most of the season, though some catharsis is found for certain parties in the final episode.

4. Stranger Things 4 (Netflix)

The fourth season of Stranger Things is as compulsively watchable as ever; still a pastiche of 80s Stephen King, Amblin Entertainment and John Hughes influences to be sure, but memorable characters, performances and production design transcend the cliches to create something worthwhile in its own right. The episode lengths this outing do start to feel a bit padded (especially the final two episodes/basically movies) but the added time spent with this cast helps to overlook the protracted plotting.

3. Better Call Saul: Season 6 (AMC)

Better Call Saul’s final season wastes no time in upping the drama with resolutions to its drug war plots coming fast and furious and culminating in a truly shocking mid-season finale that expertly sets the stage for its homestretch. While I find the momentum to fall off slightly in the last couple episodes, I can’t say anything should be different – after all, slippin’ Jimmy McGill is nothing if not an architect of self-sabotage and any other “happier” end to the series would stretch the limits of credulity.

2. Atlanta: Seasons 3 and 4 (FX)

The return of Atlanta in 2022 was a reminder that it is a show unlike anything else on television, a wholly unique vision full of powerful parables, off-the-wall humor and on occasion, surprising heart. Spring’s third season mixes culture clash comedy of the cast touring through various cities in Europe with several Twilight Zone-esque stand-alone episodes about race relations; what it lacks in narrative cohesion it makes up for in sheer boldness. Fall’s fourth and final season returns the action to Atlanta with fewer detours from the main cast (but, you know, the occasional faux documentary about A Goofy Movie), but focusing primarily on just one or two characters at a time. The final episode is a fitting ending for a series that always had a rhythm of its own even while it acknowledged influences such as Twin Peaks.

1. What We Do In The Shadows: Season 4 (FX)

Still the most consistently hilarious show on television, WWITS shows no signs of losing either its wit or edge. With new and bizarre situations including an amazing home makeover show parody, a visit to “The Night Market” and the entire life cycle of the creature that crawled out of the chest cavity of Colin Robinson, there is plenty to sink your teeth into (sorry, not sorry), even four seasons in.

Also Still Good:

The White Lotus: Season 2 (HBO)

Queer Eye: Season 6 (Netflix)

All Creatures Great and Small: Season 2 (PBS)

Girls5eva: Season 2 (Peacock)

Rutherford Falls: Season 2 (Peacock)

LEGO Masters: Season 3 (FOX)

#tv #television

Movies I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

While my taste in film always tends to be a mix of crowd-pleasers and prestige fare, this year the contrast felt even starker. I call these lists things I “liked” rather than claiming they are the “best” because, though I can recognize when a film is a great work of art even if I never want to revisit it, I tend to want to share/highlight things I actually enjoy.

For example, TÁR is certainly a masterpiece that I found utterly riveting while watching, however, it’s also an uncomfortable and off-putting experience (which is of course, part of – if not entirely – the point). So the 10 films (and honorable mentions) that follow display a level of artistic acumen that resonated with me on multiple levels while also being movies I, you know, liked.

10. After Yang (Blu-ray, VOD, Showtime)

A lyrical science fiction film centered around a family’s relationship their robotic son, director Kogonada’s second effort is beautifully realized and deeply affecting. There are futuristic echoes of the likes of A.I. and Minority Report in the service of deep meditations on life, love and grief.

9. White Noise (Netflix)

Noah Baumbach’s movies are typically a few shades too caustic for my taste, I found but this adaptation of Don DeLillo’s postmodern novel an ideal artistic match. If the book is couched in fatalist black comic critique of Reaganism, then its relevance to our current Trumpist era (where the outsized cult of personality hovers over current politics even after his time in the White House) is perfectly apt. Willful ignorance, denial of death and unabashed consumerism abound, but so do critiques of ivory tower liberalism. The use of 80s filmic tropes to underline the deadpan nature of its setting and content is expertly realized, as is the perfectly (at times) indecipherable & unsettling sound design filled with lots of, what else, white noise.

8. Black Panther: Wakanda Forever (Theatres)

The best superhero film of the year is more emotionally affecting and more personal than most others in its genre, with writer-director Ryan Coogler and his cast grappling with the real-world death and absence of Chadwick Boseman. The result is kind of shaggy (especially compared to the efficiency of its predecessor), but also includes moments of dynamic action and gorgeous production and costume design, especially for newcomer Namor and his kingdom of Talokan. I also really appreciate an action movie that grapples with themes of revenge vs forgiveness/healing (and not in a way that feels wholly unearned, a la this year’s The Batman, but more like the unjustly maligned Spider-man 3); Shuri’s grief and anger are palpable as she wars with Namor – and herself – and her journey rings true.

7. Everything Everywhere All At Once (Blu-ray, VOD, Showtime)

The Daniels’ maximalist indie epic is wholly unsubtle but genuinely affecting. With themes as broad as the salvation of the multiverse being kindness and love, I suppose you need other broadness as well, including broad comedy (some of which I enjoyed, some of which I did not exactly enjoy while still admiring its audaciousness). Ultimately it is the fully realized performances, primarily those of Michelle Yeoh, Stephanie Hsu and Ke Huy Quan, that breathe life and humanity into the proceedings, making for a emotionally moving experience.

6. Confess, Fletch (VOD, Showtime)

Having never read any of the Fletch novels or seen the earlier Chevy Chase films, I really had no context for this movie, aside from being a fan of both director Greg Mottola’s Adventureland and the comedic chops of Jon Hamm. I found it to be quite a pleasant surprise, then: a fun whodunnit where the mystery is less important than hanging out with the characters, especially Hamm’s titular investigative journalist. This is the type of eminently rewatchable movie rarely made these days and I’d be quite content if the future finds us with plenty more Fletch adventures to go along with the exploits of Benoit Blanc.

4. (tie) Wendell & Wild (Netflix) / Guillermo del Toro’s Pinocchio (Netflix)

My two favorite animated films of the year both happen to be stop-motion features bankrolled by Netflix. They’re also both unique visions that don’t pander to a broad audience.

Director Henry Selick (The Nightmare Before Christmas, Coraline) created Wendell & Wild in collaboration with Jordan Peele and it’s a favorite of mine from each of their output (yeah, I liked it better than Nope). The design is a visual delight from start to finish and I found the story to be surprisingly resonant (an examination of grief and trauma as well as a critique of corporate interests and the prison industrial complex that also has a lot of great humor and a killer soundtrack).

Del Toro’s version of Pinocchio also features critiques of power, as he sets the tale in fascist Italy. Subverting the quite on-the-nose {ahem} morality of the original story, in del Toro’s vision, it is being yourself and not conforming to puppet-like assimilation that makes one worthy of the gift of life. The design here is stunning as well, especially in the creatures featured throughout.

3. She Said (Blu-ray, VOD, Peacock)

Add She Said alongside the likes of All The President’s Men and Spotlight as a worthy entry into the cannon of great films about investigative journalism. The true story of the New York Times’ investigation by Jodi Kantor and Megan Twohey into Harvey Weinstein’s crimes, it is a truly moving testament to the heroism and perseverance of these journalists and the incredible bravery of the women who chose to confront an ingrained patriarchal system of abuse. The lead performances by Carey Mulligan and Zoe Kazan are expertly pitched and fully lived in, while simultaneously allowing the stories of the women they interview to truly shine.

2. Glass Onion (Netflix)

Knives Out was my favorite film of 2019, so it was probably inevitable that its follow-up would make an appearance on my list. Thankfully, Glass Onion does not disappoint – it’s a “lighter” and perhaps broader mystery romp, but it is just as smartly constructed and excellently performed (by an entirely new cast of characters, aside from Daniel Craig’s returning Benoit Blanc). While lacking some of the depth of the social commentary of its predecessor, the caper still has a lot on its mind, and its reveals and takedown of the ultimate culprit is immensely satisfying.

1. Cyrano (Blu-ray, VOD, Amazon Prime)

Though technically a 2021 release for awards purposes, Joe Wright’s adaptation of Erica Schmidt’s stage musical Cyrano didn’t really release until February 2022 and it has stuck with me ever since (so much so that I saw it multiple times during its brief theatrical run). As a fan of the National, I was intrigued by the prospect of the music from that band’s Dessner brothers with lyrics by frontman Matt Berninger and his wife Carin, but was surprised at how much the songs moved me, especially as sumptuously staged by Wright. Hayley Bennett and Kelvin Harrison Jr shine as the pair of young lovers Cyrano reluctantly brings together through his words, but it is Peter Dinklage in the title role who is the heart of the film, exposing the soul of the lovelorn poet whose wit and bravado masks his self-doubt and pride.

Bonus! Honorable Mentions:

Doctor Strange in the Multiverse of Madness and Thor: Love and Thunder (Blu-ray, VOD, Disney+)

The original Doctor Strange and Thor: Ragnorak both rank in my top 5 Marvel films, so I was understandably excited for their follow-ups. And I left mostly satisfied, even if neither reaches the heights of its predecessor. Multiverse of Madness is allowed to be the MCU version of a horror film with plenty of ghoulish Sam Raimi flourishes, and I really loved the audacity of introducing a group of alternate reality heroes known as the Illuminati – including the first official MCU appearances of members of the X-Men and Fantastic Four – just to (spoiler alert!) quickly dispatch them. Love and Thunder tries to do a lot – maybe too much – but still contains great heart and humor typical of Taiki Watiti, plus a great go-for-broke villainous performance from Christian Bale as big bad Gorr the God Butcher. There is a stunning visual innovation on tap as well, displaying some of the most artistic uses of digital effects in recent memory (see the black & white battle sequence).

The Banshees of Inisherin (Blu-ray, VOD, HBOMax)

I quite enjoy Martin McDonagh’s latest (well, as much as one can enjoy such a film), but it doesn’t quite reach the heights of In Bruges for me. I would recommend it, however. As quietly beautiful as it is quietly devastating – yet with an abundance of humor, often served pitch-black.

Thirteen Lives (Amazon Prime)

Ron Howard’s presentation of the 2018 Thai cave rescue is immediate and compelling, relating just how many diverse parties came together for the massive and dangerous operation of saving the trapped soccer team and coach. While it doesn’t eclipse the excellent documentary The Rescue, there are benefits to dramatizing the story, such as glimpses into the Thai boys’ homelives and the sacrifices made by area farmers that enabled the mission to succeed.

Avatar: The Way of Water (Theatres)

More of a thrill ride or immersive experience than a normal movie, the second Avatar outdoes its predecessor in just about every way. The plot is (somewhat) more novel, the characters are more engaging and the effects more visceral and spellbinding. That said, for me, it’s an in-the-moment experience that I haven’t thought much about since leaving the theatre and I doubt would be anywhere near as exhilarating at home. I’m happy it exists but definitely don’t want all movies to be like this. (Plus I really hate high frame rate, especially the choice to arbitrarily cut back and forth between 24 and 48 fps in its director-approved presentation.)

#film

Music I Liked in 2021

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I never claim to speak to general trends in music, as it’s such a subjective artform with such a large number of releases that has become even more niche over the past decade. My indie/alt-rock leaning taste is my taste and I connected with a number of records from old favorites and newer discoveries alike and I definitely recommend all of them. This is also one of those years where ranking them feels especially arbitrary; rather than do that, I split them into three tiers.

As a brief aside, in 2021 CD sales increased for the first time in over a decade; now, it’s possible this increase is solely attributable to TSwift and Adele, however, the main point is that physical media is still viable in the age of streaming. If you want to support artists, maybe considering canceling your streaming subscription and purchasing albums instead. CDs are much more affordable than vinyl, can be produced more efficiently and are more profitable for artists, just sayin.’ (At the very least consider buying digital albums via Bandcamp which has much greater benefits to an artist than streaming; why “lease” songs when you can “own” the files in perpetuity?)

Tier 3: Worth A Listen

Dayglow – Harmony House

The sophomore release from Austin-based Sloan Struble is a little more yacht-rock inflected than the bedroom synth pop of his debut, but it’s still a lot of fun. Seeing he and his band perform guitar-based music to a sea of receptive youth at Lollapalooza this summer was a real treat; the kids are alright!

Grouplove – This Is This

Grouplove released a surprise quarantine record at the beginning of the year and I was surprised to find I enjoy it a lot more than 2020’s more polished Healer. It may be a little clunky lyrically (see “Shake That Ass”) but its quasi-embarrassing qualities are so earnest they quickly become endearing – and the hooks are undeniable. Just a fun little under-the-radar rock album.

Hayley Williams – FLOWERS for VASES / descansos

Speaking of quarantine records, Paramore frontwoman Hayley Williams also delivered a surprise one last year on the heels of her 2020 solo debut. FLOWERS… is more stripped down than Petals for Armor, but contains beautifully intimate songcraft that complements that prior record very nicely.

Jon Foreman – Departures and Switchfoot – interrobang

Jon Foreman had a busy year, dropping both a new solo record as well as one with his band. While I can’t say these are my favorite albums from either project, they are both solid and the best moments on each would certainly comprise a strong top-5 album of the year contender.

Lord Huron – Long Lost

I am a big fan of Lord Huron but they have always been pastiche artists and never more so than on their latest record, which recalls bygone country and folk troubadours broadcasting from remote radio stations. This one is more pretty than memorable, but at the very least it provides some lovely background atmosphere.

Tier 2: Appointment Listening

Eddie Vedder, Glen Hansard, Cat Power and Olivia Vedder – Flag Day Original Soundtrack

I have not seen the Sean Penn film Flag Day, but critical consensus is that it’s not great. Its soundtrack, however, is terrific, featuring original material from the artists above. The Glen Hansard tracks are his best since his Swell Season output, in my opinion, and the vocals from Eddie Vedder’s daughter Olivia are a pleasant discovery.

Julien Baker – Little Oblivions

On her latest album, Julien Baker opens up her sound, adding full band instrumentation (performed almost entirely by herself on-record!) but remaining as lyrically raw as ever. Little Oblivions is an eviscerating document of her substance abuse and its effect on her relationships with others, culminating in the devastating “Ziptie” where she questions whether her mistakes are enough to cause even God to give up on her completely.

Manchester Orchestra – The Million Masks of God

Another blast of introspective and propulsive melodic rock, Manchester Orchestra’s latest deals with themes of grief, faith and purpose. Driving lead single “Bed Head” is a song of the year contender for me.

Modest Mouse – The Golden Casket

I honestly wasn’t expecting to connect much with a new Modest Mouse record but The Golden Casket surprised me with both its upbeat catchiness and occasional (albeit still caustic) optimism. This is one I kept returning to not only during the sunny summer months of its release but throughout the rest of the year as well.

Sufjan Stevens & Angelo De Augustine – A Beginner’s Mind

Sufjan Stevens began 2021 with a multi-album suite of instrumental electronic recordings, which would be enough for most artists, but in September he released this folksy acoustic-leaning collaboration with fellow singer-songwriter Angelo De Augustine. Inspired by a series of random movies the two watched together on a songwriting retreat – from Point Break to Night of the Living Dead – the songs are interesting a number of levels but are still captivating even without knowledge of the source material.

Tier 1: Highest Recommendation

Big Red Machine – How Long Do You Think It’s Gonna Last?

Although I’ve never really gotten into Bon Iver, I find Justin Vernon’s work with the National’s Aaron Dessner and others very compelling. This latest record from the duo’s Big Red Machine project features a stellar cast of collaborators including Taylor Swift, Anaïs Mitchell, Robin Pecknold, Ben Howard and more, who bring an almost mixtape-like feeling to the proceedings yet with more thematic coherence than that classification sometimes implies.

CHVRCHES – Screen Violence

The latest release from Scotland’s CHVRCHES finds frontwoman Lauren Mayberry interrogating social media’s malicious impact on individuals, specifically women, through the metaphor of a horror film. The result is some of the most urgent, effective and flat-out catchy music the band has released yet, with nods to 80s synth pop including a pitch-perfect appearance from the Cure’s Robert Smith.

Geographer – Down and Out in the Garden of Earthly Delights

In 2019, following a couple LPs that I didn’t really connect with, Michael Deni released the New Jersey EP which quickly became one of my favorites of that year. Down and Out… continues this winning streak with a collection of fantastic new synth pop jams that still allow his haunting falsetto to shine. It’s rare for a 15-track record (20, if you include the B-sides packaged with it) to be as consistent and engaging the whole way through as this one is. Perhaps my favorite album of the year.

Japanese Breakfast – Jubilee

“Paprika,” the opening track on Michelle Zauner’s third album, begins quietly with some discordant instrumentation that quickly gives way to a joyfully upbeat rush of melody, layered vocals and even a horn section, and never loses steam from there. The record is a beautiful and fun piece of dream pop, at various moments recalling not only that microgenre’s progenitors but also the lush atmosphere of a Won Kar-wai film or smoky neon haze of Destroyer’s Kaputt.

The Killers – Pressure Machine

The Killers continue their unexpected mid-career resurgence with Pressure Machine, following 2020’s excellent Imploding the Mirage. I had thought I only wanted larger-than-life, arena-ready bombast from the band and was skeptical of a more stripped down, storytelling focus, yet here Brandon Flowers & Co are with one of the year’s best records. Recalling the small Nevada community of his youth, Flowers sketches portraits of both specific individuals and the American West at large with a deft touch that shines an empathetic light on the “quiet towns” often overlooked in today’s discourse.

BONUS! Favorite EPs of the Year

Jaguar Sun x Jesse Maranger – Blooms

Canadian musician friends Jaguar Sun and Jesse Maranger linked up for this (too brief!) 4-song EP that finds them alternating vocals across the tracks while creating captivating soundscapes.

Beach Bunny – Blame Game

Chicago’s Beach Bunny get even better with every release and their 2021 offering is no exception, with abundant pop smarts and unabashedly feminist lyrical savvy.

Here’s a playlist of songs from each of these records for your sampling pleasure:

#music

TV I Liked in 2021

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Television in 2021 seemed even more fragmented and ephemeral than ever. With even major networks debuting original content on streaming platforms rather than their over-the-air channels these days, it can be difficult to keep tabs on what’s being released and when, plus episode orders are rarely even making it to 13, with most of the shows below landing at 10, 8 or even just 6 installments. While I am strongly in favor of shorter seasons, which definitely leads to more consistency and quality than the 22-24 episode orders of yesteryear, it can also mean that certain series that are here one weekend are quickly forgotten the next. But I suppose that means those that stick with you are all the more notable. For 2021, I figured I’d break up my favorites into new picks, returning favorites and Marvel’s offerings on Disney+.

New and Notable:

5. Rutherford Falls: Season 1 (Peacock)

The latest comedy of human decency from co-creator Michael Schur (Parks & Recreation, The Good Place), Rutherford Falls (kindly) interrogates white ally-ship and the foundational myths of the United States. Ed Helms stars as the descendant of a family who established a namesake town (allegedly) in collaboration with the Native inhabitants, but the series smartly and refreshingly centers Jana Schmieding’s Reagan, Michael Greyeyes’ Terry and the rest of its Native cast as more layers to the community’s foundational myths are revealed. Paul F. Tompkins’ turn as a local historian is a deranged delight.

4. Mare of Easttown (HBO)

This limited series from creator Brad Ingelsby is successful not just because of its interesting subversion of procedural expectations (actually letting the audience spend a full episode with the person whose murder will be the show’s central investigation, bringing one of the primary mysteries to resolution two episodes before the finale, etc. etc.) but primarily because of its lived-in world and the humanity of its ensemble of characters. Kate Winslet is great in the lead role, but her entire supporting cast is pitch-perfect, and while the plotting occasionally threatens to strain credibility, it mostly stays on the side of plausible and offers satisfying resolutions.

3. Girls5eva: Season 1 (Peacock)

It’s no secret that I’m in the bag for the comedic sensibility of producers Tina Fey and Robert Carlock (30 Rock, Unbreakable Kimmy Schmidt) and their new series from creator Meredith Scardino provides another dose of rapid-fire jokes and acerbic wit. The cast, featuring Sara Bareilles, Busy Philipps and Paula Pell, is uniformly great, but the surprise comic breakout is Hamilton’s Renée Elise Goldsberry who delivers a hysterical performance as the diva of the group.

2. All Creatures Great and Small: Season 1 (PBS)

The first season of this new adaptation of the life and writings of Scottish veterinarian James Herriot debuted in the US last January, a warm blanket of a series in the middle of a bleak winter. There is something to be said for the soothing and kind nature of the series, which I looked forward to every Sunday to impart some peace for the week ahead. (Season two is currently airing.)

1. Dopesick (hulu)

Dopesick is a bleak and disconcerting, yet also compelling and moving, limited series about the opioid epidemic, specifically Purdue Pharma’s malicious marketing of OxyContin and the government investigations that ultimately proved their malfeasance. None of its plotting would be effective without a sense of the human cost involved, however, and heart-breaking performances by Michael Keaton as a doctor at a rural clinic and Kaitlyn Dever as a mine worker who is prescribed the medicine after a workplace injury bring a real sense of urgency to the proceedings.

Great Seasons of Returning Favorites:

5. The Great: Season 2 (hulu)

The second season of Tony McNamara’s fictionalized Catherine the Great dramady picks right back up with the same dry and cutting humor. New wrinkles emerge in Catherine and Peter’s love-hate relationship, as she navigates their pregnancy and his attempts to undermine her rule all while trying to introduce culture and education to a hostile, traditionalist and ultra-patriarchal society.

4. LEGO Masters: Season 2 (Fox)

I neglected to mention the first American season of LEGO Masters last year, but it was a true joy during lockdown and inspired me to restart a (small) LEGO collection. Season 2 is just as fun, with a cast of amazing builders facing insane challenges week-to-week and the return of Will Arnett’s perfectly over-the-top bluster as host.

3. How To with John Wilson: Season 2 (HBO) and Joe Pera Talks With You: Season 3 (Adult Swim, HBOMax)

I don’t know if it’s fair to call John Wilson’s memoir-ish docuseries and Joe Pera’s scripted short-form comedy “similar,” but they both give me the same sense of calm sincerity, wistful comfort and everyday wonder. They’re also both are quite funny as well, whether stemming from the idiosyncrasies of offbeat subcultures in John Wilson or the lived-in world-building of Joe Pera – just wait ’til Joe shows you his favorite school-appropriate movie, The Adventures of Otto.

2. Ted Lasso: Season 2 (Apple TV+)

Ted Lasso, both the show and the character, gets more complicated and messy in Season 2, but never loses its trademark heart and spirit. The introduction of team psychologist Dr. Sharon Fieldstone gives Ted the opportunity to finally confront his demons, and a certain character’s heel-turn feels appropriately disappointing yet understandable, as not everyone is going to overcome their baggage without doing work just because they’re around someone as relentlessly positive as Ted. Some plotlines worked a bit better for me than others, but nitpicking a show this warm and generous is an exercise in self-defeat.

1. What We Do In The Shadows: Season 3 (FX)

WWITS is still the best comedy on TV in its third season, expanding the show’s universe in absurd and laugh-out-loud hilarious ways while even managing to slip in the occasional moment of poignancy. Unexpected pairings of certain characters this season pay great dividends, especially the plots involving Laszlo’s befriending of Colin Robinson. And the episode where the group travels to Atlantic City at the invitation of their clueless neighbors is chock-full of comic gold.

Marvel on Disney+:

Does it really make sense to include Marvel’s roster of limited series for Disney+ with everything else? More-or-less existing to provide connective tissue between various film franchises, these shows have consistently high production values and are all pretty fun, yet are somewhat dubious in terms of providing satisfying story arcs (they’re basically the MCU equivalents of those asterisks you see in comic books directing you to other issues). Even so, they were each appointment viewing for me this year and are heads above most of the CW’s “Arrowverse” shows (the quite good Stargirl and Superman and Lois being possible exceptions), so rather than trying to rank them among the rest of my favorites, I figured I’d compare them with each other.

5. What If…?: Season 1

Featuring innovative animation and a voice cast featuring many MCU actors reprising their roles (including Chadwick Boseman’s final appearances as T’Challa), this series is most effective when it sticks to its anthology roots. Trying to build an overarching narrative between episodes had the paradoxical effect of making everything feel less grand & epic to me, and in general, the series just has a baked-in triviality as we know these aren’t the “real” versions of our characters. All that said, the Dr. Strange-focused episode “What If... Doctor Strange Lost His Heart Instead of His Hands?” is fantastic and displays the true potential of the format. (C )

4. The Falcon and the Winter Soldier

An unfortunate case of the whole being lesser than the sum of its parts, this series is packed with interesting ideas and characters but struggles to have them cohere into a consistent and impactful story. Captain America: The Winter Soldier is my favorite MCU film, so I had high hopes for this series as it seemed to carry a lot of the same DNA, and indeed the action sequences are among the best-looking on television and the performances from Anthony Mackie, Sebastian Stan and their entire supporting cast are quite good. Those features can’t overcome some inconsistent characterizations, a surprising dearth of humor for a “buddy comedy” and meandering plotting reminiscent of the bloat of Netflix’s Marvel shows (though props for it only being 6 episodes rather than 13 or something). I am glad Sam Wilson has finally claimed his mantle as the new Captain America and it’s rewarding to see the internal struggle he experiences to accept it, but it doesn’t feel like anyone who skips this between Endgame and the next Cap movie will have missed anything consequential, sadly. (B-/C+)

3. Loki: Season 1

Perhaps the series I was least interested in of Marvel’s initial Disney+ slate, Loki vastly exceeded my expectations and is quite simply just a lot of fun. Exploring alternate timelines and the seeds of the multiverse, the series introduces versions of Tom Hiddleston’s titular character from multiple realities as he tries to avoid being “pruned” from existence by the Time Variance Authority. Owen Wilson’s co-starring role as TVA agent Mobius is great stuff, and this first season’s payoff – while definitely place-setting – is still quite satisfying. (B+)

2. Hawkeye

The heart of Hawkeye is Hailee Stanfield’s Kate Bishop and the reluctant mentee-mentor relationship she forms with Jeremy Renner’s Clint Barton. Who would have guessed that the banter in this series would make for better comedy than that in Falcon and the Winter Soldier? Its Christmas setting is an inspired choice and provides a great ticking clock deadline as Barton tries to wrap up complications with the criminal underworld and make it home to his family before the holiday. [I do have to acknowledge that this falls into the same giant suspension-of-disbelief problem nobody talks about with Die Hard – NO ONE holds a holiday party on CHRISTMAS EVE NIGHT! 😉] The series also does a great job honoring Black Widow’s sacrifice in Endgame and dealing with the grief of that loss both in Barton’s life and that of her “sister” Yelena. This is one I really hope we get a second season announcement for, because I’d love to see more of the Barton-Bishop partnership develop, as well as exploration of some of the other storylines from the Fraction-Aja comic run that this series takes a deal of inspiration from (Kate in LA, please?). (A-)

1. WandaVision

The unexpectedly perfect series at the perfect time, WandaVision launched as Marvel’s first Disney+ show after Covid-induced production delays pushed back The Falcon and the Winter Soldier. It couldn’t have been a better happy accident, as the series brought the MCU proper to television while paying homage to classic television series through the decades. At its heart an examination of grief and trauma, the series also had unique resonance a year into the pandemic. There are also just so many clever touches and meta Easter Eggs at play, from the casting of the Fox X-Men series’ Quicksilver, Evan Peters, as someone claiming to be Wanda’s brother to the inclusion of Kat Dennings and Randall Park, MCU actors with a history in sitcoms, for this tribute to TV. And all of that before even mentioning the incredible performances from Paul Bettany and Elizabeth Olsen, who deftly act their way through a variety of different comedic and dramatic styles as each episode requires. While I’ve read some criticism that the show’s conclusion becomes just another generic MCU CGI battle, I disagree, finding that the action serves both character and plot and leads to a very fulfilling, if bittersweet, ending. (A)

#tv #television

Movies I Liked in 2021

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

2021 marked a tentative return to moviegoing, with theatres reopening and long-delayed films finally seeing release (though not always without multiple reschedulings). Due to mask requirements and the availability of vaccines, I felt comfortable venturing out to see a lot of things on the big screen, and whether just due to a backlog of 2020 releases or an abundance of pent-up creativity, I found 2021’s offerings to be very strong. Here are my 10 favorites of the year (and some bonus recommendations).

10. C’Mon C’Mon (VOD)

There is no shortage of emotionally-stunted-adult-meets-adorable-moppet-and-becomes-a-better-person movies out there, but Mike Mills’ latest is surprisingly affecting and beautifully observed. Joaquin Phoenix’s performance as an absentee uncle who reconnects with his nephew during a period of family drama is naturalistic, warm and humane. This one resonated deeply with me as a single adult (and new uncle) who deeply desires to have children.

9. The Last Duel (Blu-ray, VOD, HBOMax)

Ridley Scott’s criminally underseen historical drama interrogates ideas of chivalry and patriarchy in medieval France through a Rashomon-style multi-perspective presentation of its narrative. Excellent and multi-layered performances from Jodie Comer, Matt Damon and Adam Driver bring the material to life in illuminating detail. Content warning: the film features a truly harrowing and heart-rending scene of sexual assault that, while not exploitative, is difficult to watch.

7. (tie) Dune: Part One (Blu-ray, VOD) / Spider-Man: No Way Home (Theatres)

My favorite mega-budget blockbusters of the year are both best experienced writ large, on the biggest screens possible. As a total Dune newbie, I find Denis Villeneuve’s epic take on the notoriously dense material to be engaging and comprehensible with some of the most immersive world-building since the Lord of the Rings trilogy. The only caveat is that, being an adaptation of the first half of a novel, it’s an incomplete story so I really have to reserve full judgement until Part Two (or I guess I could go read a book or something…).

No Way Home also manages to satisfy, with heart and depth that most of Hollywood’s vacuous “spot-the-reference” franchise extensions sorely lack [stares long and hard at Ghostbusters: Afterlife]. As a long-time Spider-Fan, I was very nervous about the introduction of the multiverse and unification of the MCU’s reality with previous Spidey franchises (while I love the original trilogy and am even an apologist for Spider-Man 3, the Andrew Garfield movies are money-grabbing disasters). The film dances on the knife’s edge between inspired storytelling and hacky fan service and somehow ends up on the right side (to me anyway), with plot choices that move the story forward and deepen Tom Holland’s Peter Parker while also giving long-time fans plenty to cheer – and get choked up – about.

6. Street Gang: How We Got to Sesame Street (Blu-ray, VOD, HBOMax)

My favorite documentary of the year (and a movie I actually braved a theatre pre-pandemic to see) is this look at the creation of Sesame Street and its early years. Based in part on a 2008 book of the same name, this is actually a case where the movie is better (or at least more consistent and focused) than the source material, offering a compelling glimpse of what is possible when truly altruistic visionaries come together in service of the common good. One of the most inspirational portraits of creativity I have ever seen.

5. The French Dispatch (Blu-ray, VOD)

Wes Anderson’s latest curio is another immaculately detailed feat of world-building, this time presenting a fictional New Yorker-inspired magazine office in France and offering an anthology of the stories comprising its final issue. Each vignette offers homages to different auteurs and genres, and the in-camera tableaus he creates are alone worth the price of admission. A breezy, yet not saccharine, delight of a film.

3. (tie) In The Heights (Blu-ray, VOD, HBOMax) / West Side Story (Theatres)

Two fantastic musical adaptations that aren’t ashamed to be musicals, John Chu’s In The Heights and Steven Spielberg’s West Side Story both feature New York’s Puerto Rican community at different points in modern history. The updates to both shows’ books to better reflect the lived realities of their subjects as well as the intentional (if imperfect) casting of all Latinx people in Latinx roles bring new relevance to each story. I’ve honestly never connected with WWS much, but Spielberg’s directorial and compositional skill are second to none and he brings the material back to life in fresh and exciting ways. Similarly, In The Heights turns each musical number into a celebratory event, from a Busby Berkeley-inspired water ballet at a neighborhood pool to a dance up the side of an apartment building. Two of the best stage-to-screen translations in at least the past twenty years.

2. The Green Knight (Blu-ray, VOD)

David Lowery’s interpretation of Arthurian legend is a sumptuous visual and auditory feast with a winning lead performance from Dev Patel. Dream logic dominates the narrative, but the filmmaking is more propulsive than ponderous, even as it makes time for meditative interludes. An enthralling and entrancing deconstruction of masculinity and chivalric code from beginning to end.

1. Nine Days (Blu-ray, VOD)

Writer-director Edson Oda’s debut feature is a moving portrait of the human experience and tribute to the beauty of existence. Winston Duke gives a bravura performance as Will, a “pre-life” facilitator who interviews souls for the opportunity to be born, with a fantastic supporting cast and gorgeous score from Antonio Pinto. Its setting and style exists somewhere at the nexus of Terrance Malick’s Tree of Life, Pixar’s Soul and the “TVA” from Marvel’s Loki series (so basically right up my alley). It might be too heightened for some, but this is the type of art that both honors sensitivity and makes you feel a little less alone in the world. Highest recommendation.

Bonus! Honorable Mentions:

The Tragedy of MacBeth (Theatres, Apple TV+)

Joel Coen’s Shakespeare adaptation is visually stunning, using stark black and white to create stage-y, but not stagebound, dreamscapes that owe a debt to German expressionism and the Avant-garde.

Summer of Soul (hulu)

Questlove’s documentary about the largely forgotten 1969 Harlem Cultural Festival is an enlightening and inspiring snapshot of Black life, Black joy, Black art and Black excellence, as well as a stark reminder of which narratives American culture chooses to remember and celebrate versus which it chooses to disregard or discount. Thanks to this film, iconic performances from the likes of Stevie Wonder, Nina Simone, Sly and the Family Stone, Mahalia Jackson and many more are no longer consigned to the dustbin of history.

Black Widow (Blu-ray, VOD, Disney+)

While I enjoyed Shang-Chi and The Eternals to varying degrees as well, my second favorite MCU film of the year was the long-overdue solo outing for Scarlett Johansson’s Widow. Casting the superhero film as a spy thriller with some great comedy mined from its Americans-esque sleeper-cell-family reunion is an inspired touch, however, it’s hard to escape the feeling of inconsequence given we already know the titular character’s outcome. It’s too bad Marvel didn’t see fit to actually produce this one after Civil War, when it’s set.

No Time To Die (Blu-ray, VOD)

Daniel Craig’s final turn as James Bond is a little too long and over-stuffed, but I have to give it some props for bringing closure to a character that has never been afforded any. It features a bevy of fun set pieces, but some of the most compelling action resides in the scenes that place you right with Bond as he navigates a shootout in a narrow stairwell or faces uncertain threats in a foggy forest, nice nods to the first-person feel of the classic N64 Goldeneye game, intentional or not.

Double Bonus! 2021 Holdovers:

With the 2020 release schedule a huge mess and most of last year’s awards ceremonies being delayed to spring and extending their qualification deadlines, it’s hard to say what counts as a 2020 vs 2021 film. These weren’t widely available until early 2021, so I’d be remiss not to acknowledge their excellence as well.

Nomadland (Blu-ray, VOD, hulu)

Judas and the Black Messiah (Blu-ray, VOD, HBOMax)

One Night in Miami (Blu-ray, Amazon Prime)

The Father (Blu-ray, VOD, Starz)

#film

TV I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Was there ever a year more unpredictably tailor-made for peak TV than 2020? Lockdowns/quarantines/stay-at-home orders meant a lot more time at home and the occasion to check out new and old favorites. (I recognize that if you’re lucky enough to have kids or roommates or a S.O., your amount of actual downtime may have been wildly different). While the pandemic resulted in production delays and truncated seasons for many shows, the continued streaming-era trends of limited series and 8-13 episode seasons mean that a lot of great and satisfying storytelling still made its way to the screen. As always, I in no way lay any claims to “best-ness” or completeness – this is just a list of the shows that brought me the most joy and escapism in a tough year and therefore might be worth putting on your radar.

10 Favorites

10. The Right Stuff: Season 1 (Disney+)

As a space program enthusiast, even I had to wonder, does the world really need another retelling of NASA’s early days? Especially since Tom Wolfe’s book has already been adapted as the riveting and iconoclastic Philip Kaufman film of the same name? While some may disagree, I find that this Disney+ series does justify its existence by focusing more on the relationships of the astronauts and their personal lives than the technical science (which may be partially attributable to budget limitations?). The series is kind of like Mad Men but with NASA instead of advertising (and real people, of course), so if that sounds intriguing, I encourage you to give it a whirl.

9. Fargo: Season 4 (FX)

As a big fan of Noah Hawley’s Coen Brothers pastiche/crime anthology series, I was somewhat let down by this latest season. Drawing its influence primarily from the likes of gangster drama Miller’s Crossing – one of the Coens’ least comedic/idiosyncratic efforts – this season is more straightforward than its predecessors and includes a lot of characters and plot-threads that never quite cohere. That said, it is still amongst the year’s most ambitious television with another stacked cast, and the (more-or-less) standalone episode “East/West” is enough to make the season worthwhile.

8. The Last Dance (ESPN)

Ostensibly a 10-episode documentary about the 1990s Chicago Bulls’ sixth and final NBA Championship run, The Last Dance actually broadens that scope to survey the entire history of Michael Jordan and coach Phil Jackson’s careers with the team. Cleverly structured with twin narratives that chart that final season as well as an earlier timeframe, each episode also shifts the spotlight to a different person, which provides focus and variety throughout the series. And frankly, it’s also just an incredible ride to relive the Jordan era and bask in his immeasurable talent and charisma – while also getting a snapshot of his outsized ego and vices (though he had sign-off on everything, so it’s not exactly a warts-and-all telling).

7. The Queen’s Gambit (Netflix)

This miniseries adaptation of the Walter Tevis coming-of-age novel about a chess prodigy and her various addictions is compulsively watchable and avoids the bloat of many other streaming series (both in running time and number of episodes). The 1960s production design is stunning and the performances, including Anya Taylor-Joy in the lead role, are convincing and compelling.

6. The Great: Season 1 (hulu)

Much like his screenplay for The Favourite, Tony McNamara’s series about Catherine the Great rewrites history with a thoroughly modern and irreverent sensibility (see also: Sofia Coppola’s Marie Antoinette). Elle Fanning brings a winning charm and strength to the title role and Nicholas Hoult is riotously entertaining as her absurdly clueless and ribald husband, Emperor Peter III. Its 10-episodes occasionally tilt into repetitiveness, but when the ride is this fun, why complain? Huzzah!

5. Dispatches From Elsewhere (AMC)

A limited (but possibly anthology-to-be?) series from creator/writer/director/actor Jason Segal, Dispatches From Elsewhere is a beautiful and creative affirmation of life and celebration of humanity. The first 9 episodes form a fulfilling and complete arc, while the tenth branches into fourth wall-breaking meta territory, which may be a bridge too far for some (but is certainly ambitious if nothing else). Either way, it’s a movingly realized portrait of honesty, vulnerability and empathy, and I highly recommend visiting whenever it inevitably makes its way to Netflix, or elsewhere…

4. What We Do in the Shadows: Season 2 (FX)

The second season of WWDITS is more self-assured and expansive than the first, extending a premise I loved from its antecedent film – but was skeptical could be sustained – to new and reinvigorated (after)life. Each episode packs plenty of laughs, but for my money, there is no better encapsulation of the series’ potential and Matt Berry’s comic genius than “On The Run,” which guest-stars Mark Hamill and features Laszlo’s alter ego Jackie Daytona, regular human bartender.

3. Ted Lasso: Season 1 (AppleTV+)

Much more than your average fish-out-of-water comedy, Jason Sudeikis’ Ted Lasso is a brilliant tribute to humaneness, decency, emotional intelligence and good coaching – not just on the field. The fact that its backdrop is English Premier League Soccer is just gravy (even if that’s not necessarily represented 100% proficiently). A true surprise and gem of the year.

2. Mrs. America (hulu)

This FX miniseries explores the women’s liberation movement and fight for the Equal Rights Amendment in the 1970s and its opposition by conservative women including Phyllis Schlafly. One of the most ingenious aspects of the series is centering each episode on a different character, which rotates the point of view and helps things from getting same-y. With a slate of directors including Ryan Bowden and Anna Fleck (Half-Nelson, Sugar, Captain Marvel) and an A-List cast including Cate Blanchett, Rose Byrne, Uzo Aduba, Sarah Paulson, Margo Martindale, Tracey Ulman and Elizabeth Banks, its quality is right up there with anything on the big screen. And its message remains (sadly) relevant as ever in our current era.

1. The Good Place: Season 4 (NBC)

It was tempting to omit The Good Place this year or shunt it to a side category since only the final 4 episodes aired in 2020, but that would have been disingenuous. This show is one of my all-time favorites and it ended perfectly. The series finale is a representative mix of absurdist humor and tear-jerking emotion, built on themes of morality, self-improvement, community and humanity. (And this last run of eps also includes a pretty fantastic Timothy Olyphant/Justified quasi-crossover.) Now that the entire series is available to stream on Netflix (or purchase in a nice Blu-ray set), it’s a perfect time to revisit the Good Place, or check it out for the first time if you’ve never had the pleasure.

5 of the Best Things I Caught Up With

Anne With An E (Netflix/CBC)

Another example of classic literature I had no prior knowledge of (see also Little Women and Emma), this Netflix/CBC adaptation of Anne of Green Gables was strongly recommended by several friends so I finally gave it a shot. While this is apparently slightly more grown-up than the source material, it’s not overly grimdark or self-serious but rather humane and heartfelt, expanding the story’s scope to include Black and First Nations peoples in early 1800s Canada, among other identities and themes. It has sadly been canceled, but the three seasons that exist are heart-warming and life-affirming storytelling. Fingers crossed that someday we’ll be gifted with a follow-up movie or two to tie up some of the dangling threads.

Better Call Saul (AMC)

I liked Breaking Bad, but I didn’t have much interest in an extended “Breaking Bad Universe,” as much as I appreciate star Bob Odenkirk’s multitalents. Multiple recommendations and lockdown finally provided me the opportunity to catch up on this prequel series and I’m glad I did. Just as expertly plotted and acted as its predecessor, the series follows Jimmy McGill/Saul Goodman on his own journey to disrepute but really makes it hard not to root for his redemption (even as you know that’s not where this story ends).

Joe Pera Talks With You (Adult Swim)

It’s hard to really describe the deadpan and oddly soothing humor of comedian Joe Pera whose persona, in the series at least, combines something like the earnestness of Mr. Rogers with the calm enthusiasm of Bob Ross. Sharing his knowledge on the likes of how to get the best bite out of your breakfast combo, growing a bean arch and this amazing song “Baba O’Reilly” by the Who – have you heard it?!? – Pera provides arch comfort that remains solidly on the side of sincerity. The surprise special he released during lockdown, “Relaxing Old Footage with Joe Pera,” was a true gift in the middle of a strange and isolated year.

The Mandalorian (Disney+)

One of the few recent Star Wars properties that lives up to its potential, the adventures of Mando and Grogu is a real thrill-ride of a series with outstanding production values (you definitely want to check out the behind-the-scenes documentary series if you haven’t). I personally prefer the first season, appreciating its Western-influenced vibes and somewhat-more-siloed story. The back half of the second season veers a little too much into fan service and video game-y plotting IMHO but still has several excellent episodes on offer, especially the Timothy Olyphant-infused energy of premiere “The Marshall” and stunning cinematography of “The Jedi.” And, you know, Grogu.

The Tick (Amazon Prime)

I’ve been a fan of the Tick since the character’s Fox cartoon and indie comic book days and also loved the short-lived Patrick Warburton series from 2001. I was skeptical about this Amazon Prime reboot, especially upon seeing the pilot episode’s off-putting costumes. Finally gaining access to Prime this year, I decided to catch up and it gets quite good!, especially in Season 2. First, the costumes are upgraded; second, Peter Serafinowicz’s initially shaky characterization improves; and third, it begins to come into its own identity. The only real issue is yet another premature cancellation for the property, meaning Season 2’s tease of interdimensional alien Thrakkorzog will never be fulfilled. 😢

Bonus! 5 More Honorable Mentions:

City So Real (National Geographic)

The Good Lord Bird (Showtime)

How To with John Wilson: Season 1 (HBO)

Kidding: Season 2 (Showtime)

Unbreakable Kimmy Schmidt: Kimmy Vs The Reverend (Netflix)

#tv #television

Movies I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Discussing film in 2020 is almost nonsensical. Theatres were shut down in most places for most of the year, shuffling release schedules and availability of titles in various markets, further fracturing an already-fragmented landscape. I personally love the movie-going experience – the darkened atmosphere, the massive screen, the ability to escape the outside world for a couple hours in the company of a room of strangers. Man, do I miss all of that. Yet I am exceedingly grateful to the creators and media conglomerates that decided to release some of their projects to streaming services and “virtual cinemas” during this unprecedented year. (Despite Wonder Woman 1984’s flaws, wow, was it nice to have a new action blockbuster to watch over the holidays.)

I toyed with breaking out stage/theatre projects separately, but at the end of the day, had those played on the big screen they would have still been considered, so I decided to keep everything together. This year more than ever I make no claims to comprehensiveness, and it seems even more futile than usual to rank these films, so here are 15 of my favorite films of 2020 listed in alphabetical order. How I wish I could have experienced these all on the big screen.

American Utopia (available on HBO)

Spike Lee’s film of the Broadway engagement of David Byrne’s American Utopia is right up there with Jonathan Demme’s Stop Making Sense, the gold standard of concert films (and I’m not even much of a Talking Heads/Byrne fan!). The brilliance of this tour-turned-Broadway show is the elimination of any stationary equipment – Byrne and his band, utilizing mobile instruments, perform choreographed movement to the songs (a mix of Byrne solo material and Talking Heads classics) on an otherwise bare stage. The arrangements of the songs themselves are warm and life-affirming, something we all needed more of in 2020.

An American Pickle (available on HBOMax)

This quirky comedy from writer Simon Rich stars Seth Rogan in dual roles as an immigrant in the early 1900s transplanted to modern day New York and his last remaining descendant. I wasn’t expecting much from the premise but found it to be a surprisingly resonant story about family and legacy with salient observations about modern conveniences and appreciating small pleasures. Rogan himself is really great in this, creating two very distinct and believable characters that in an alternate reality might be up for awards consideration.

Black Is King (available on Disney+)

Beyonce’s latest visual album has its origins in her Lion King role, but the material transcends that misbegotten remake (despite the occasional out-of-place audio clips sprinkled throughout). The visuals here are stunning, from the costumes and makeup to the set design and choreography, all in celebration of Black excellence and beauty.

Emma. (available on HBO, VOD and Blu-ray)

One of the last films I saw in theatres this spring was the latest treatment of Jane Austen’s Emma from director Autumn de Wilde. Similar to Little Women last year, I had no prior experience with the source material, never having read the novel or seen any prior adaptations (outside of Clueless, if you count that), but I found it absolutely delightful. The cast is terrific, including Anya Taylor-Joy in a role completely different than her other big turn this year in The Queen’s Gambit, and the production design & direction are impeccably sumptuous, creating the type of escapism that came to mean all-the-more as the year wore on.

First Cow (available on Showtime, VOD and Blu-ray)

Kelly Reichardt’s latest film is a moving meditation on unexpected friendship, ideas of masculinity and economic inequality set against the backdrop of 1800s Oregon Country. Poetic but not ponderous, First Cow is one of the most humane and empathetic portraits of man and nature I experienced in 2020.

Hamilton (available on Disney+)

Already a big of Lin Manual-Miranda’s race-bent musical about founding father Alexander Hamilton, I was still awed by this document of the original Broadway production. Director Tommy Kail adeptly films his own stage direction while capturing intimate moments through closeups and vantages that are unavailable to the live audience. And while I personally may have preferred Lin to sing more than sob through some of his Act II songs, the whole cast is phenomenal, especially Leslie Odom Jr, Renée Elise Goldsberry and MVP Daveed Diggs whose energy and charisma are palpable in his dual role as Lafayette/Jefferson.

Just Mercy (available on HBO, VOD and Blu-ray)

Although technically a 2019 film, Just Mercy didn’t receive wide release until 2020 so I’m including it here. The adaptation of lawyer Bryan Stevenson’s memoir about his fight for death row inmates is a powerful story of the ongoing fight for justice and rarely falls into “based on a true story”/biopic clichés. Michael Jordan brings dignity and righteousness to the role of Stephenson and Jamie Foxx is excellent as the wrongfully incarcerated Walter McMillian.

Kajillionaire (available on VOD)

The story of an insular family of grifters, Kajillionaire explores what it’s like to exist in a bubble and reconcile that with a growing understanding of the wider world. Evan Rachel Wood engenders immense empathy with her portrayal of the family’s daughter who has been raised without any real physical affection or affirmation and Gina Rodriguez exudes light and charisma as a woman who comes into their orbit and changes everything.

Ma Rainey’s Black Bottom (available on Netflix)

Adapted from August Wilson’s play of the same name, this film contains a powerhouse performance from Viola Davis as the titular blues singer but belongs to the magnetic Chadwick Boseman in his final role. As Levee, a brash young songwriter and musician, Boseman fully realizes a portrait of a talented and demeaned Black man in America, trapped by circumstance and his own feelings of helplessness. It’s beautiful and gut-wrenching to behold, and makes his passing all the more tragic as we can only imagine the great performances that we’ll never get to see.

Mank (available on Netflix)

Mank, a biopic about Golden Age Hollywood screenwriter Herman Mankiewicz, may be director David Fincher’s most conventional film yet, however that takes nothing away from the charm of its engaging storytelling and performances. As “Mank” works – or rather drunkenly procrastinates – on the screenplay for Citizen Kane, we get flashbacks of his relationships with William Randolph Hearst and Marion Davies, which will provide the basis for his script’s thinly veiled characters.

Small Axe (available on Amazon Prime)

A series of five separate films from director Steve McQueen, the Small Axe series is linked by its exploration of the West Indian community in London. Exploring topics including the justice system, educational disparity and the unifying & life-affirming power of music, these films are each powerful and moving on their own but add up to a rich and beautiful tapestry of the complexities of immigrant life.

Soul (available on Disney+)

Soul is in many ways a spiritual successor (pun intended) to Inside Out, my all-time favorite Pixar film, envisioning life after death (or is that life before life?) as a strange and delightfully stylized realm where new souls prepare to be born. The audience surrogate to this world is a frustrated jazz musician who finds himself incapacitated the day of his big break. The stunningly rendered film is another example of the studio – and co-director Pete Docter – at its heart-rending best with lovely observations about passion, mentorship and being present to life’s small pleasures.

The Vast of Night (available on Amazon Prime)

An indie sci-fi flick set in 1950s New Mexico from first-time director Andrew Patterson, The Vast of Night pays homage to the likes of The Twilight Zone better than the current reboot of that show does. This surprisingly compelling movie creates a tangible sense of time and place and utilizes innovative shots and blocking to deliver something unique and artful, while still delivering on its genre promises.

What the Constitution Means to Me (available on Amazon Prime)

The final live communal event I attended before everything locked down last spring was the touring production of this Heidi Schreck play, and boy, was it a moving way to say a temporary goodbye to live theatre (even if I didn’t quite know it at the time). Later in the year, Amazon gifted us with a record of Schreck’s Broadway run, which loses nothing of its impact or immediacy. Using her personal history of debate contests at American Legion Halls as an entry point, Schreck explores how the Constitution has been used (and not used) to impact the rights of women (and other marginalized groups) throughout America’s history. Brilliant, heart-breaking and inspiring art.

Wolfwalkers (available on AppleTV+)

The latest wonder from director Tomm Moore (The Secret of Kells, Song of the Sea) completes his trilogy of films inspired by Irish mythology. The topics this time are the Wolfwalkers, an Irish variation of the Werewolf legend, and the clash of urbanization with the natural world. Vividly rendered in gorgeous traditional animation, this is one of the most visually splendid things I saw all year.

Bonus! Honorable Mentions:

Eurovision Song Contest: The Story of Fire Saga (Netflix)

Feels Good Man (VOD)

Palm Springs (hulu)

Sound of Metal (Amazon Prime)

Tenet (VOD, Blu-ray)

#film

Music I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I can’t say I discovered a lot of new artists in 2020, but I did find a lot of solace in new records by familiar voices. During days of intense isolation and lonesomeness, music provided support, hope and the occasional semblance of peace. I’m especially grateful for the musicians who found new ways to perform live from their home studios, once the entire touring industry completely shut down. I’m sure we all found our own rabbit holes, but live-streamed sets from the likes of Ben Gibbard, Jimmy Eat World’s Jim Atkins, Better Than Ezra’s Kevin Griffin, Geographer’s Michael Deni and Ben Folds kept me sane during April, May and beyond. As did all of these albums, which I highly recommend.

15. Serpentine Prison – Matt Berninger

The National frontman’s first solo record is a slow-burn that may not reach the heights of his work with his main group (or sideproject El Vy), but still has signature moments of poetic beauty. The title track is a clear standout (and when it gets stuck in your head, you can have fun brainstorming your own alternate non-sequitur couplets; examples: “Tripping on Molly / Salvador Dalí”, “Praying to Jesus / Ramona and Beezus” / “Sell it on Etsy / Heavens to betsy” / “Patio tables / Anne of Green Gables” It’s fun! Try it out!)

14. Local Honey – Brian Fallon

Speaking of Matt Berninger (and solo projects from alt-rock frontmen), I hear a lot of his influence on the latest from Gasoline Anthem’s Brian Fallon. This largely stripped-down affair has quiet splendor to spare and provided a balm in the early days of the pandemic.

13. Gigaton – Pearl Jam

Pearl Jam’s latest record finds the band operating in a variety of different modes – head-on rockers, balladeers, experimentalists – yet doesn’t quite gel into a whole the way their very best work does. That said, it’s an energetic album with many songs I look forward to hearing live, someday…

12. George Clanton & Nick Hexum – George Clanton & Nick Hexum

A vaporwave collaboration between electronic artist George Clanton and 311’s Nick Hexum? Really? Somehow it works, and its chill vibes were a perfect backdrop for lonely summer malaise this year.

11. Petals For Armor – Hayley Williams

Paramore’s Williams branched out on her first solo record this year, allowing her to operate in a variety of styles without losing her powerful voice. Moments of slinkily seething electronica (“Simmer”) share space with pop smarts (“Dead Horse”), quietly pretty harmonies (“Roses/Lotus/Violet/Iris”) and all points in between.

10. Mordechai and Texas Sun EP (with Leon Bridges) – Khruangbin

Houston psych-rock trio Khruangbin did double duty this year, first releasing a collaborative EP with Leon Bridges then following it up with a new full-length a couple months later. Both records hang in the air like hazy, languid summer heat, in the best possible way.

9. RTJ4 – Run the Jewels

RTJ4 is just as rollicking and propulsive as Killer Mike and El-P’s previous collabs, but with a greater sense of socially conscious urgency and righteous anger, giving it an even rawer power. Tracks like “Walking In The Snow,” “JU$T” and “a few words for the firing squad (radiation)” are just the tip of the iceberg on this incendiary record.

8. American Head – The Flaming Lips

American Head returns the Flaming Lips to the melodic soundscapes of The Soft Bulletin and Yoshimi Battles the Pink Robots, which is my preferred mode for the band, and thus is my favorite thing they’ve done in at least a decade. The record is a bit more dreamily melancholic than those earlier releases though, creating atmospheres of contemplative beauty.

7. Punisher – Phoebe Bridgers

Coming after collaborations with boygenius and Better Oblivion Community Center, it’s hard to believe this is only Bridgers’ sophomore album. Punisher takes the winning palette of Stranger In The Alps and mixes in more colors and texture. This is an album that rewards repeat listens; tunes that I had initially dismissed have ended up becoming my favorites as they get their hooks into me. The most immediate tracks like “Kyoto” and “ICU” don’t lose any impact over time, but the likes of the quietly devastating “Chinese Satellite” sneak up on you and gradually reveal their layers.

6. Imploding the Mirage – The Killers

I was done with The Killers. My interest always ran hot and cold anyway, but after 2017’s Wonderful Wonderful, no thanks. So imagine my surprise when I gave Imploding the Mirage a shot and found I LOVE it! It may be my favorite of their records yet, at least the most consistent, where they most fully realize the confluence of their Springsteen-tinged Americana fetish and electro-rock sensibilities. Bombastic 80s arena percussion and over-the-top synth flourishes combine in the best possible way. There’s not a dud on the album for me, but I’m especially fond of “My God,” “Lightning Fields” and “Dying Breed.”

5. The Ascension – Sufjan Stevens

The Ascension hits with similar energy to 2010’s polarizing Age of Adz, but with more easily accessible songs. It’s a dark and introspective record about disillusionment with America and oneself, but also highly danceable – if a bit overlong. Standout tracks like “Goodbye to All That” and “Lamentations” provide transcendent moments of soaring beauty like calm in the storm. And the brilliant title track plays like a self-interrogating rejoinder to Adz’s pep talk “Vesuvius” in which, instead of cheering himself on, Stevens probes and calls into question his motivations and beliefs.

4. Song Machine, Season One: Strange Timez – Gorillaz

The latest record from Damon Albarn’s ever-evolving cartoon collective is its most engaging since Plastic Beach, with a spirit of musical exploration that reminds me much of 2001’s self-titled debut as well. The project was introduced as a series of one-off singles, so what really surprises is just how well they cohere into a full record, featuring a plethora of A-List guest artists and Albarn holding down the fort with some of his best songwriting yet.

3. 10 Songs – Travis

Travis are a band that I’ve casually enjoyed (2001’s The Invisible Band is great) but never followed all that closely. I certainly wasn’t expecting much from a latter-day record from them, but 10 Songs is one of the 2020 releases I have returned to most. The songs are the audial equivalent of a warm blanket, with a lovely wistfulness permeating through. Standouts include “The Only Thing,” “A Million Hearts” and “Kissing in the Wind,” but all ten songs are great.

2. Devastator – Phantom Planet

Phantom Planet’s first record in 12 years doesn’t miss a beat, finding a sonic middle ground between their early indie-pop leanings and their later punkier direction. The hooks are plentiful and the lyrics poignant (this is basically a breakup album about the end of frontman Alex Greenwald’s relationship with Brie Larson), with highlights including the up-tempo “Only One” and the elegiac “Time Moves On.” Return of the year.

1. folklore and evermore – Taylor Swift

Top 40 Pop Music is not really my thing and while I’ve certainly appreciated some of Taylor Swift’s work before (Red has jams!), I wouldn’t have called myself a fan. 2020’s pair of surprise release records are a different mode of songwriting for her and right in my wheelhouse, with indie-leaning production courtesy of fun./Bleachers’ Jack Antonoff and The National’s Aaron Dessner. While my impressions of Swift’s past work have been navel-gazy and self-mythologizing (not a problem, but not that interesting to me), folklore and evermore broaden her storytelling to paradoxically become more specific in its universality and/or more universal in its specificity. The moments that are autobiographical (“mad woman,” “invisible string”) have an authenticity and self-assuredness that make them all the more accessible. This is romantically nostalgic poetry with the power to reopen old wounds and maybe also start rehealing them at the same time. While I still give folklore the edge (I love “august,” “exile” and mirrorball,” to name just a few), evermore is steadily growing on me with each listen.

Here’s a playlist songs from each of these records for your sampling pleasure:

Bonus! 2 Unexpected Cover EPs:

Switchfoot – Covers EP and Death Cab For Cutie – Georgia EP

As society grappled with lockdowns and concerts were uniformly cancelled the world over, many artists kept occupied with livestreams from their home studios. Switchfoot’s Jon Foreman and Death Cab’s Ben Gibbard were among those who posted daily songs or shows during the early days and their bands would each end up releasing EPs of cover songs during the year. Switchfoot take on a range of songs from the likes of Vampire Weekend, Frank Ocean and The Verve and Death Cab honor Georgia artists like R.E.M. and Neutral Milk Hotel for a Bandcamp fundraiser for voting rights. Both efforts provide some unexpected reinterpretations that elevate them above the average covers album.

#music

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Aaron Maurer