Category Archives: Writing

What Does Beasts Of No Nation Mean?

Netflix’s big splash into original films is a movie about the loss of innocence 

There are a lot of ways this could be answered, particularly because there are a lot of ways it could be asked. What Netflix’s first bonafide Oscar launch attempt means for the future of film distribution, for opportunistic auteurs, or for big studios and multiplexes. A lot of that is boring and almost all of it is speculative. Online streaming sites and apps will only be able to create more and more quality TV and films for the foreseeable future; that much we know. Beasts alternative release plan of simultaneous theatrical and online release was enough of a rebellion from status quo for major U.S. theatre chains such as AMC and Regal to boycott the film. Thus, the $6 million dollar film made less than $60,000 at the box office – but that pain is eased by the reported $12 million Netflix forked over for distribution rights. It’s hard to say how much of, if at all, a thorn in the side of Hollywood this trend could be. Frankly, I don’t actually care. On the other hand, Beasts of No Nation may be the shot that’s ending a cinematic cold war.

Beasts director, writer, co-producer, and cinematographer Cary Fukunaga, who you may remember as the director of that one good season of True Detective (ahh, memories), has a knack for gorgeous images. In fact, most of his resume is work as cinematographer on short films and documentaries. So it comes as no surprise that Beasts of No Nation is a hearty buffet of vividly colored frames. In those frames is, most notably Idris Elba, as the ‘Commandant’ of the rebel militia that captures our young Agu (played by Ghanian actor Abraham Attah) after his father and brother are killed trying to escape the government troops. Elba’s Commandant assumes Agu’s father’s figure as he shapes him into one of the many child-warriors in his battalion. Agu is conditioned with violence and brainwashed with wartime rhetoric. He witnesses unspeakable cruelty and is the victim of heinous acts. Through these ordeals we begin to understand the lust for killing brewing in these children as a natural reaction to trauma. After his Commandant who he had begun to trust and admire, sexually assaults Agu, squeezing a trigger and screaming feels almost therapeutic. This is the films greatest triumph; humanizing the warped mind. Screen Shot 2015-10-20 at 12.11.12 PM

Beasts location in Africa is kept completely anonymous and despite criticism for it painting Africa with a violent generalization, artistically it’s a very defendable move. The anonymity helps immerse us in Agu’s innocent perspective. To a child it matters not what sovereign nation they are in or fighting. They have no choice or say in the matter and are more or less blind to politics. What matters to them is simply surviving, family, and happiness. Even the grass and fauna is well above Agu’s head, it makes sense that his perspective of the war would not be greater. The lack of context for the atrocities creates a vacuum of nihilism for there is no purpose, only victims.

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Everest, The Martian, and When Films About Risk Play It Safe

Visual spectacle can’t overcome lack of substance in Hollywood’s last gasp of summer

Recently I spent a better part of September meandering about France with my girlfriend (humble-brag or just normal brag?). Pristine Alps, ancient ruins, feats of architecture – you name it, it was beheld. However, I’ve never been a big ‘sights’ guy. This is because, as someone who lives within an average work commute to one of the Seven Natural Wonders of the World, I believe you can and will become numb to any ‘sight’s’ beauty if exposed long enough. I know, cynical right? But just ask the people of Agra what they think of the Taj Mahal, or Chicagoans about the Cloud Gate (the bean thing). But what’s not cynical is the belief that absorption into a person, an idea, or a culture, is endless and endlessly more stimulating. Something, director Baltasar Kormákur would appear not to believe while making Everest.

Everest is a film about a mountain, but the story is about people – a lot of people. Based on Jon Krakauer’s best-selling account of the 1996 Mount Everest Disaster, Into Thin Air, Everest stars, well, a lot of stars. Jason Clarke appears to be the lead as he plays the New Zealand-bred Rob Hall, leader of Adventure Consultants, one of the groups tasked with escorting their climbing clients up to the top of the world. Josh Brolin, John Hawkes, and Michael Kelly – as journalist Krakauer – among others, take up roles as Adventure Consultant’s clients. Opposite Clarke is Jake Gyllenhaal as the resident shirtless and super-chilled-out-brah ski-bum, but also Scott Fischer, leader of the Mountain Madness adventure travel service. Emily Watson and Sam Worthington reside back at one of the many base camps relaying messages for a better part of the film, while Keira Knightley and Robin Wright play worried wife half-a-world-away for Clarke and Brolin respectively.

Grand Himalayan eye-candy is strewn about Everest, intercutting each new dramatization and pandering to 3D technology. It’s gorgeous and daunting, and helps to put in perspective the scale of such a venture. As our teams make their way from base camp to base camp acclimating to the altitude, we learn bits about where they’re from and why they’re here. What we don’t learn however is who they are. Characters are sketched haphazardly, defining them by their periphery relationships instead of delving into their psyche through dialogue and actions. Instead of zeroing in on a select few characters, the film casts a wide net, trying to give everyone their moments and their stories. As we ascend up the mountain, through the haze of snow blindness, goggles, and full-body snowsuits, keeping up with the large ensemble becomes confusing. The film’s flurrying attempt to include everyone casts a disorienting vibe over the second half of the film. This results in a lack of genuine emotional investment and participation from the audience. It’s also told from no particular perspective. Not using author and journalist Jon Krakauer’s point of view more, played by the instantly likable and relatable Michael Kelly, feels like a missed opportunity. The film slowly begins to feel like a mic’d up nature doc. everest-movie-review-1-750x400

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The Colbert Report 2.0

This is late night check-in, a feature where I watch a full week of one talk show and discuss how it was. Last week I watched “The Late Show with Stephen Colbert”, from 9/8 to 9/11.

On Thursday night, during an interview with Joe Biden, approximately four minutes and thirty-five seconds went by without the sound of laughter.

Colbert allows this silence to happen. He doesn’t try to force banter that would stifle the conversation. Instead, he listens, as do we. The Vice President talks about his son, Beau Biden, who has recently passed away from brain cancer. Biden mourns his son with a kind of honesty and vulnerability you might expect to hear if you were eavesdropping on a private conversation. It was incredibly difficult to watch, fraught with emotion from a wound that’s barely healed. It was one of the boldest things I’ve ever seen on a late night television program. Despite its brevity (some of it was cut for broadcast, although you can watch the full interview online), it packed an emotional punch and left an impression about what it means to keep moving forward in the face of incredible loss. I can’t recall the last time a talk show allowed this much room for not only a guest to be so candid about their state of mind, but for the viewer to reflect on something so heartbreaking.

The aforementioned was the clear highlight in a week full of them during the premiere week of “The Late Show with Stephen Colbert” and a terrific sign of things to come. In a packed late night world, Colbert has already started to carve out his own territory, as evidenced by the groundbreaking Biden interview. Before its premiere, the expectations for “The Late Show” have been absurdly high, with all the popular questions rattling throughout the blogosphere – what will the “real” Stephen Colbert do? Will the format be different? Without his blowhard persona to grasp onto, will Colbert sink or swim?

Turns out we all had nothing to fear. Colbert is sticking to the long time late-night formula that has worked since Johnny Carson dominated the universe – monologue, desk piece, interview one, interview two, musical guest/comedian. And while that might seem disappointing to those who were hoping Colbert would completely re-invent the wheel, it begs the question of how in God’s name you could possibly pull that off?

What keeps this old format from seeming ancient is the way Colbert twists each segment to match his style. Yes, there was a monologue, but it was brief and devoid of topical jokes (“Did you see this? Did you hear this?”) that every other late night show includes. Instead, each night featured a few light jokes, quick anecdotes, some banter. No scripted bits, save for one night that featured a parade of famous NFL players making cameos as “new employees” of the show. It was the closest the show came to being flashy for the sake of being flashy. Colbert throws to the band, they perform the theme song, announce the guests, and Colbert sits behind his coveted desk.

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What’s Wrong with Season Two of True Detective?

Season Two of Nic Pizzolatto’s anthology crime drama is experiencing a sophomore slump, but did it ever have a chance?

Rarely does a show experience such groaning disappointment and fervent ‘trending’ anticipation all at once. This combo has crowned into a hysterical mob of cultural sadism, like a car crash, or say, an overwrought mass shootout you can’t turn away from. Critics reveling from their mezzanines, throwing tomatoes with one hand and tossing popcorn into their cackling mouths with the other. Social media has been a schoolyard beat down of jokes poking at everything from the confusing plot to the faux mysteriousness of its characters.

There was nowhere to go but down, and in retrospect, we should all be kicking ourselves for being so optimistically hyped about the succeeding season of Nic Pizzolatto’s True Detective. What did we really think was gonna happen after Fukunaga departed. Rustin Cohle would be laughing at our blind hopefulness. image

This is the part of the article where one gives a quick run-through of the shows premise. Easier said than done. Ok so, um, well you have Ray Velcoro (Colin Farrell), an alcoholic detective in Vinci, an industrial municipality run by corporations. He’s going through some child custody drama but more importantly is bent to the whim of Frank Semyon (Vince Vaughn), dirty mob entrepreneur trying to go clean, due to a past favor. Ani Bezzeredes (Rachel McAdams) is rough-around-the-edges cop possibly dealing with some repressed sexual issues due to having been raised on some sort of spiritual commune. And then there’s Paul Woodrugh (Taylor Kitsch) former seen-some-things armed forces motorcycle cop who’s struggling to stay in the closet.

These characters are brought together by the brutal murder of Ben Caspere, city manager and business partner of Semyon. Semyon entrusted Caspere with $5 million for a legitimizing high speed rail project, which he finds out Caspere embezzled before his death, causing Frank to lose most his fortune and faith of potential investors and developers. Velcoro is sent by Semyon to investigate, while simulataneously put on the case by the Vinci PD along with Bezzerides and Woodrugh. As a result, feathers are ruffled, alliances are tested. 
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President Barack Obama Opens Up

Two of my worlds collide, smashing President Barack Obama out of his egg, which detached him from the mystic narratives built in many American’s minds – “He’s a level-headed academic”. President Barack Obama sat down with legendary stand-up comic Marc Maron, who also happens to be one of the greatest interviewers of all-time, and gave incredibly honest and thoughtful answers.

President Barack Obama and Marc Maron could not be any different in temperament. President Obama comes off as somewhat emotionally disengaged and optimistic, whereas Marc is an anxious narcissist with anger issues. Barack Obama has a wife and two daughters, Marc has never completely settled down and is a proud owner of too many cats. The interview takes place in Marc Maron’s garage, which just so happens to be down the street where President Obama inhabited during his early adulthood.

The interview takes off immediately which highlights Marc Marons uncanny ability to put a guest at ease despite his hyperactive demeanor. They dive deep into macro political issues like healthcare, terrorism, and racism. The interview takes place shortly after the horrific massacre in Charleston, South Carolina. This adds extraordinary context to the interview. The Charleston shooting is the most significant hate crime in the last 50 years. President Obama doesn’t draw the race-card, he doesn’t say that America is broken. He believes that the issue boils down to insecurity and lack of identity rather than an inherent bad nature of human beings. You can really tell he takes a Lockean view of human nature rather than a Hobbesian view of human nature (even though he doesn’t go as far as a lot of Americans; as in he doesn’t fully buy Locke’s theory of property, which in the Earth was put here for humans to use to any benefit).  The President actually repeatedly says that race relations are much better than they were 50 years ago.

However, President Obama does not hold back on his frustration over the uniqueness of the mass-shooting problem in the United States. He cites Australia was able to act quickly because the public was so outraged over the one and only mass shooting in their country 25 years ago. President Obama explains how the most disturbed he has been was Congress’s inability to act after the Sandy Hook Massacre. While being firm on what he calls “common-sense gun control reforms”, he understands that hunting is a key part of life for many Americans and often symbolizes or evokes feelings of nostalgia and tradition.

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The Late Show Coasts To The Finish Line

This is late night check-in, a feature where I watch a full week of one talk show and discuss how it was. Last week I watched “Late Show with David Letterman”, from 5/11 to 5/15.

“People say to me – aren’t you gonna miss the applause and the laughter? Hell, I’m missing it right now.”

About two and a half minutes into his monologue on Wednesday, David Letterman tosses out this joke as if it’s an afterthought. The audience laughs, of course. Dave stands there and smiles. It’s a joke that doubles as a quietly sublime statement. At the risk of reading too much into it, I took it as both a sign that he will, indeed, miss doing his show. But even in the midst of his farewell shows – on stage, right now – the laughter doesn’t affect him the way it once did. The thrill is gone.

Which is a shame, because David Letterman is one of the best, and it’s sad to see him go. His legacy needs no fluffing, as evidenced by the many tributes and think pieces you’ll read this week concerning how he shattered the notion of what late night television could be. He was a visionary and a star to an entire generation of comedians, and without him the state of comedy would look very different.

It’s sometimes difficult to separate the “Late Night” years from the “Late Show” years (to clarify – he was the original host of Late Night on NBC before departing to CBS) because they represent two entirely different eras. The former was a showcase for comedy innovation – an anti-talk show that constantly challenged the viewer. Taken as a whole, his “Late Show” tenure saw a slight decrease in ambition. In his quest to beat Jay Leno in the 11:30 timeslot, some of the more batshit crazy elements that gave Late Night its charm were put out to pasture. But Dave was always there, always the aloof, quick-witted comedian he’s always been. And these days, you’d be hard pressed to find a machine as well oiled as the Late Show.

The point I’m trying laboriously to get to is that in his last full week of shows (his final three shows air this week, concluding on Wednesday), after a lifetime of hard work, Dave has earned the right to just kind of stand there and chuckle at the absurdity of it all. I perhaps picked a bad week to check-in on a show that’s on its way out, because it really did seem like the show was casually jogging to its big finale. At the top of Monday’s monologue, Dave does a few jokes on Tom Brady (every night featured a Deflategate joke) then, unsatisfied, says “Put down the cards, Tom.” He proceeds to riff on selfies and memoirs. “Kim Kardashian publishes a book of selfies, it’s cool. I publish a book of selfies, it’s creepy.”

It seemed that for most of the week, Dave just wanted to get down to brass tax and talk to the guests he handpicked to close out his run. This was more than evident during the desk piece, where he did a Top 10 list every night. I thought that Dave would really pull out all the stops and go back to the nostalgia bin to do some fun stuff, but either they’re saving it for the last three shows or they’re not even gonna bother. Every list felt like it was brainstormed an hour before the show (Top 10 Least Popular Thomas Edison Inventions, Top 10 Things Overheard at the Olive Garden Test Kitchen, etc.) The only interesting one is the extremely-meta Top 10 Thoughts Going Through Dave’s Mind While Presenting the Top Ten List, which includes the number one pick, “Johnny never had to do this shit.”

The best part of the show is when Letterman cuts loose. He’s truly at his best when he’s off-the-cuff and talking to people. He has an uncanny ability to just sit back at his desk and riff with ease, and this is when the Late Show begins to get entertaining. With a week full of stacked guests, there’s fun to be had. Dave and Howard Stern have a natural camaraderie (“What are you gonna do in Montana?” “I’m not going to Montana!” is the best running joke of the night.) Don Rickles shows up and does his Don Rickles thing. I honestly could have watched him and Howard Stern and Letterman riff all night. Adam Sandler performs a musical tribute via acoustic guitar, and it’s surprisingly earnest and funny. George Clooney handcuffs himself to Dave. “You’re not going anywhere. You’re not leaving,” George says. Dave looks at him, longingly, and says “You have beautiful eyes.” And the last guest of the week, Norm MacDonald, shows up and kills it with a brilliant stand-up set that ends with an amazing tribute to Dave.

Some guests are a bore, though Dave clearly enjoys their company and could give a shit about whether or not you care. Bill Clinton conducts his interview like a campaign stop; he seemed quite muted, as if he’s deliberating censoring himself from saying anything that could hurt Hilary’s campaign. I guess that’s par for the course when your wife is running for President. Julia Roberts shows up, and Dave is apparently very taken by her. Oprah talks about Africa, and then Dave starts getting bored and they discuss smoking pot and selfies.

And that’s that. At the conclusion of every show, Dave turns to the camera for a quick “Good night everybody.” I can’t even throw an exclamation mark in there because his voice never rises to that level. Letterman is a stone cold professional. He goes in, makes people laugh, he goes out. And that’s been the way he’s doing it for nearly thirty years. He is the last of the old guard to go, a veteran performer whose presence over the past few years has been taken for granted. Letterman has always been there, and soon, he will be gone. But even during a week of coasting to the finish line, he still finds a way to make it work. He can still turn it on when he needs to, and when he does, there’s simply nobody better than David Letterman.

Full Disclosure:

-You can still catch glimpses of the old Late Night absurdity shining through. George Clooney remains handcuffed to Dave throughout his interview with Tom Waits. And when Dave goes out for the monologue for the Friday show, Clooney is still handcuffed to him. (They tape Thursday and Friday on the same day.)

-My mom assures me that Bill Clinton playing sax on The Arsenio Hall Show was a huge deal.

-Dave, before going to commercial: “President Clinton everybody. We’ll be back with Adam Sandler.” I laughed really hard at this.

-Adam Sandler gives zero fucks about wearing a t-shirt and jeans in the Ed Sullivan Theater.

-Paul Schaffer doesn’t much to do other than conduct the band, but he seems like a genuinely good guy. He was a guest this week and got to tell old stories about James Brown and Bob Dylan.

-I did not watch Ryan Adams. I most definitely watched Tom Waits. His voice never ceases to amaze/frighten me.

-I ate clearly expired leftover pizza at eleven o’clock in the morning while watching the Oprah interview. I have no shame.

-If you’re gonna watch something from these shows, check out Norm MacDonald’s stand-up set. Also tune in for the last three shows airing this week, which I’m sure will be interesting. Tom Hanks on Monday. Bill Murray on Tuesday. No guests listed on Wednesday, which means it will be a parade of celebrities.

-Next time on Late Night Check-In: I have no idea. I’d like to do this once a month. I did two this month because I wanted to cover Letterman before he left. Look for another one sometime next month.

Holla Holla Hollister

Confidence, Articulate, Touch

It is important for a manager to identify the qualities of interviewees. David Grieves could read it on his interviewee’s faces. Literally. The job qualifications he was in search of were high check bones, full lips, and an attitude that say’s ‘I’m so cool that I can see you, but I will still pretend that you are not there.’ Anything else could be taught on the job.

The newest Hollister interviewee seated in David’s office was a squared jawed, olive skin Latino. He actually was not even applying for a job. He mistook David’s office for a changing room and David asked him to stay.

“So, are you interested in working for Hollister, Casper?”

“How much is the pay?”

“Minimum wage. We do offer full dental and ten percent discounts on all Hollister product.”

“I actually am looking for a new job.”

“Really.” David saw an opening that he could exploit. “Where are you working now?”

“I work irrigation for Son-of-a-Ditch.”

“Irrigation is tough work, Casper. Tough work leads to wrinkles. Here at Hollister we don’t do hard work. Do you see that sign?”

David pointed to a sign tacked to the wall behind Casper. A black stick figure was bent at the waist as he attempted to pick up a black cube. A red circle with a line across enclosed the figure.

“Yea. We have those at Son-of-a-Ditch. It means to not lift with your waist.”

“Waist, back, knees…whatever it is, we don’t lift with it over at Hollister.”

“I’m used to breaking my back everyday at work.”

“Think of Hollister as a low input high output organization. We defy the laws of logic if you really think about it. So, would you be like to join the family?”

David extended his hand over his desk towards Casper.

“Ah, sure. I could use a change of pace. Not much can be worse then digging a ditch.” Casper met his hand and shook with confidence.

“Colon cancer. Colon cancer is worse then ditch digging, but that is neither here nor there. Can you come back tomorrow at eight thirty for training?”

“Yes. Absolutely.”

“Great. See you then.”

Casper rose from the chair and left David Grieves office. David reclined in his black office chair, put his hands intertwined behind his head and sang softly to himself.

Jungle love, it’s driving me mad, it’s making me crazy…crazy.”

~ Continue reading Holla Holla Hollister

I Watched the Original Mad Max So That You Don’t Have To

Most Americans upon seeing a 15-second commercial for some new dirt-storm, four-wheeled, perhaps racing? or escaping? gaudy, kinda scary-lookin’, possibly Charlize Theron starring? summer blockbuster movie titled Mad Max: Fury Road, shouldn’t be blamed for sighing “Is this a Death Race thing?” or “More Fast and the Furious rip-offs huh?” Even I, upon just a brief Wikipedia browsing, realized I had much to learn about this Somewhat-peeved Maximilian.

For instance, there are already two sequels to the original Mad Max (1979): Mad Max 2: Road Warrior(1981)(presumably Weekend Warrior was taken) and Mad Max Beyond Thunderdome(1985)(all-time great ’80s action movie title).  In addition, these are Australian films, not American films set in Australia but filmed in a place in Arizona that looks kinda like Australia.  American audiences slurped up these V8 movies and helped make them a lot of Dingos, or whatever they call money down there; nonetheless, they were shot in Australia, by an Australian director, with an Australian cast.

A clean-cut, unemotive Mel Gibson plays Max (Mel grew up in Westchester County, New York until the age of 12 when he moved to Sydney). That’s right, a baby-faced Mel, unaware of the evils of The Jews and presumably unenchanted with the violence of the Christ. Mel is so innocent looking in this film, that it’s almost hard to imagine him developing into the unhinged monster we see today. But in retrospect, his strangely aloof and sometimes awkward performance in this movie now seems like a red flag for ‘Insane Person Inside Syndrome.’

Nevertheless, I watched the very first Mad Max. And I must say, time has not done it any favors.  It didn’t do itself any favors either, with a meandering plot, seemingly disjointed scenes, chaotic pacing, and just fucking strange acting. I say strange acting because some of these scenes include such bizarre facial expressions that it’s hard for me to imagine a director allowing them if it wasn’t for some comedic or surreal effect. But by far the most egregiously improbable element of this movie is how everyone just willingly wears leather pants in the heat of the Australian Outback, I mean c’mon. The whole film felt like an uncomfortable acid trip inside of a Hot Wheels play-set. But I digress, I’m going to give you the viewer’s digest of this film, to spare you.


4:48 – Big surprise, the film starts off with a car chase. One of the Main Force Patrol (these are the good guys) aka The Police in dystopian Australia, spins out. Chubby cop kicks his fucked-up hood and tosses it on the ground in frustration, like a child. This is what I imagine parallel universe Dukes of Hazzard is like.Screen Shot 2015-05-13 at 2.53.32 PMThey’re chasing a guy called “Nightrider” (no, not that Knight Rider) who is maniacally laughing as he drives with his pink-haired, Hot-Topic girlfriend alongside him.

Continue reading I Watched the Original Mad Max So That You Don’t Have To

Is The Tonight Show Really That Bad?

This is late night check-in, a feature where I watch a full week of one talk show and discuss how it was. Last week I watched “The Tonight Show Starring Jimmy Fallon”, from 4/27 to 5/1.

The Tonight Show has taken a lot of flack over the past few years. Since the Conan-Leno debacle and the backlash against the latter, The Tonight Show is no longer the cultural touchstone it once was (when every conceivable adult in America gathered around a television to watch Johnny Carson.) Today, there are plenty of late night options to choose from with no real king – though it’s easy to argue that Jimmy Fallon could claim such a title. His incarnation of the show is currently the highest rated late night talk show. His YouTube channel has 7 million subscribers with nearly 3 billion total views and produces at least one viral video per week.

A lot of comedy nerds will tell you The Tonight Show is crap. There’s no comedy, it’s just a bunch of meandering games, etc. Andrés du Bouchet, a long-time writer for Conan, recently caught some heat for tweeting about his dissatisfaction regarding the aforementioned. “Comedy in 2015 needs a severe motherfucking shakeup,” he said in a now deleted tweet. “No celebrities, no parodies, no pranks, no mash-ups or hashtag wars. I’m fat.”

So how much of that is accurate? The current incarnation of The Tonight Show features a regular dose of celebrity-based comedy, parodies and mash-ups. There’s few pranks and certainly no hashtag wars but the show does feature Tonight Show Hashtags (we’ll get to that later.) How much of this is pandering to the audience and how much is actual comedy? What’s to be expected when you watch a full week of The TonightShow?

First things first. Jimmy Fallon has come a long way since his nervous, jittery Late Night debut six years ago. He’s now a seasoned performer with all the chops necessary for being a talk show host. Like all good talk show hosts, he’s crafted a niche for himself. Fallon is an entertainer, ideally one for the whole family. He’s immensely positive and likable. It’s hard to hate a guy who wants the audience both at home and in studio to have fun. Both the show and its host are completely devoid of cynicism.

His monologue at the top of the show is quick, efficient and confident. Like Conan, Fallon tends to act out things at the end of jokes. His chameleon-like impressions can elevate a joke further or even save a particularly bad one. He’ll riff and improvise with his sidekick, Steve Higgins, and it’s usually pretty good. And anytime The Roots chime in, it’s just icing on the cake.

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A Month After Its Release, We Grapple with TPAB’s Place

Illmatic or It Was Written? Ready to Die or Life After Death? Slim Shady LP or Marshall Mathers LP? Food & Liquor or The Cool? good kid, m.A.A.d city or To Pimp a Butterfly?

The prophecy has been foretold, and foretold, and foretold. The savior, who drops two classics, then disappoints us, and if he’s truly the savior, makes up for it in the long run (see: Nas). But I’m not going to postulate about the future for Kendrick, instead lets appreciate what this particular prodigy has done. When I first heard To Pimp a Butterfly I was positive it was better than GKMC. This was what I had been waiting for, where parts of GKMC left me yearning for just a little more, I now felt satisfied.

TPAB is not an album you can taste in one sip, or even one glass. It requires intensive, diligent and repeated consumption. You will change your mind again, and again, and again, about elements of it. Second albums by the prodigious rap star are always sprawling attempts to recapture the spirit of the first, while proving that they can do even better. They usually lash out at a force bigger than themselves and puff out their chest at anyone trying to tell them anything. This is where Kendrick separates himself. Where most have taken this moment to give the world an angst-y middle finger and stomp up their gorgeous marble spiral staircase and slam their heavy double doors, Kendrick only blames himself. With armor-piercing self-awareness, he blames himself for even the possibility that fame and wealth has changed him, for even the potential for him to be corrupted. It’s a bleak but cautionary parable from a future self, sent to forewarn of the self-loathing guilt that will await him should he betray Compton. Don’t play the victim, be responsible for “U” he infers; this is a common theme throughout.

After a year full of #BlackLivesMatter and #ICantBreath you’d think Kendrick would aim some, if not most, of his fire-breathing passion at institutional racism on his 16 track, hour-plus slam poetry funk record. But somehow he didn’t. It’s perplexing at best, and irresponsible at worst. Okay, to be fair there is “The Blacker the Berry”. But it’s hard to tell how much of that anger is aimed at himself, and how much is at the system that “hates him” when he begins and ends the song with calling himself a hypocrite. His stream-of-consciousness flow wrestles with issues of black self-love and hypocrisy throughout the album. Symbolically, on “i” he addresses the importance self-esteem, and then when the dramatized live crowd causes a ruckus he lectures them about the word “nigga”. It’s clumsy, but it’s also about perspective. About when you’re in the heat of the moment, step back and see the bigger picture. Where GKMC weaved its way through the nooks and crannies of the city, TPAB weaves through the psyche of young Kendrick like a parasitic epiphany; an epiphany that is heavily centered on Black unity and cultural appreciation.

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