{"id":130082,"date":"2020-07-18T00:00:36","date_gmt":"2020-07-18T04:00:36","guid":{"rendered":"https:\/\/25yearslatersite.com\/?p=130082"},"modified":"2024-04-16T23:23:46","modified_gmt":"2024-04-17T03:23:46","slug":"whats-the-buzz-the-sandman-close-enough-and-more","status":"publish","type":"post","link":"https:\/\/tvobsessive.com\/2020\/07\/18\/whats-the-buzz-the-sandman-close-enough-and-more\/","title":{"rendered":"The Sandman, Close Enough, and More!"},"content":{"rendered":"

Welcome to What\u2019s the Buzz<\/strong>, where members of our staff provide you with recommendations on a weekly basis. This week, Cat Smith<\/a> is listening to the audiobook of Neil Gaiman’s The Sandman<\/strong>, Bryan O’Donnell<\/a> is jamming to King Gizzard and the Lizard Wizard’s new song “Honey<\/strong>,” Hawk Ripjaw<\/a> recommends the Director’s Cut of Doctor Sleep<\/strong>, and Jan Kalina<\/a> is watching Close Enough<\/strong>.<\/em><\/p>\n

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The Sandman<\/em> Audiobook<\/h2>\n

Cat<\/strong>: If you\u2019re a fan of the award-winning graphic novel The Sandman<\/em>, you\u2019ve probably been casting it in your head for at least the past 20 years. You\u2019ve probably been casting it, while at the same time hoping that it will never ever get made into a movie, because there\u2019s just no way it could possibly translate into any other medium that lives up to the page.<\/p>\n

Well, it looks like Audible <\/a>found a way. Author Neil Gaiman has been winning awards for (among other things) his audiobook performances for years, and he and director Dirk Maggs decided to up the ante, and bring the graphic novels to life. The first three episodes just dropped, and believe me when I tell you, they are a feast for the ears. James McAvoy leads the ensemble cast as Morpheus, the intense and broody king of dreams. He\u2019s joined by voice actor gods Andy Serkis, Michael Sheen, Josie Lawrence, Paterson Joseph, and a whole slew of amazing talent who bring the extra in that very specific, oh-so-British way. When McAvoy talks, you can hear how delicious that scenery he is chewing is. And oh my god, the Foley team sounds like they are having the time of their lives in there. It\u2019s wonderful.<\/p>\n

Gaiman himself does the narration, and that\u2019s a large part of why I think this works. First of all, anyone who has ever listened to one of his audiobooks will tell you that his voice is a thing of great beauty (I used to play them at the end of my yoga classes for people to relax to). More importantly, since the art in the comics was based on his words in the first place, it stands to reason that the best way to turn the art back into words again would be to have him do it himself. I\u2019m biased, of course, since I know what these things look like—I\u2019m dying to talk to someone for whom this is their first experience with The Sandman<\/em>, and then get them to read the books, and see how close the images in their head were to the actual art.<\/p>\n

If I have any issues with it at all, it\u2019s the one issue I have with a lot of voice work—that it was cast with the eyes, not with the ears. I think Kat Dennings is great, given the right material. Get her and Aaron Sorkin back together (she did one episode of\u00a0The Newsroom<\/em><\/a>, and she rocked my socks), and let her be dry and snarky for days. And lord knows she\u2019s a great physical choice for Death. But if you\u2019re familiar with Gaiman\u2019s Death, you know that she\u2019s introduced while she\u2019s quoting\u00a0Mary Poppins<\/em>, and she\u2019s described on more than one occasion as reminding you of that best friend you never realised you had. Warm and a little bubbly, you know? And again, I\u2019m a fan of Dennings—but warm and a little bubbly? No. When you\u2019re casting something that\u2019s strictly audio, you should do it with a blindfold on.\u00a0<\/em>Sometimes you get both (Joanna Lumley as Lady Johanna Constantine is so perfect it makes my heart explode), but sometimes not.<\/p>\n

When I think back to the days in which graphic novels were struggling for legitimacy (to the point where, after\u00a0Sandman\u00a0<\/em>#19, \u201cA Midsummer Night\u2019s Dream\u201d was the first and only comic ever to win the World Fantasy Award, they stuck comics in to their \u201cspecial Professional Award\u201d category so that wouldn\u2019t happen again), the fact that this audio version exists, with a big budget and an all-star cast, is heartwarming and glorious. And Netflix is adapting The<\/em> Sandman<\/em>\u00a0into a series, and Gaiman is working on that himself too. The books I\u2019ve loved for decades are being reintroduced to the world, and they\u2019re doing it right. The rest of 2020 may be a dumpster fire, but in the realm of dreams—what a time to be alive.<\/p>\n

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King Gizzard and the Lizard Wizard “Honey”<\/h2>\n

Bryan<\/strong>: Well I guess it was only a matter of time. After releasing two full-length albums in 2019<\/a> and a whopping five albums in 2017, King Gizzard and the Lizard Wizard has released its first new song of 2020. To their credit, they have released two films and a number of live albums so far this year. So it\u2019s not like they\u2019ve been slacking or anything.<\/p>\n

The new song is called “Honey,” and it was released July 14, along with an accompanying video in which lead singer and guitarist Stu Mackenzie is playing an acoustic microtonal guitar in many (socially distant) locations.<\/p>\n

Coming off the band’s most recent album, Infest the Rats’ Nest<\/em>, which was an all-thrash-metal concept album, “Honey” appears to be returning to earlier King Gizzard albums such as 2015’s Paper M\u00e2ch\u00e9<\/i> Dream Balloon<\/em> and 2017’s Flying Microtonal Banana<\/em> (which was all recorded using microtonal tuning). At first the song comes off as a chill acoustic tune, with eerie harmonica in the background like a sunrise. But then it picks up steam, turning into one of those classic King Gizzard grooves, with a thumping bass line, some flute, and harmonica.<\/p>\n

Mackenzie said on Twitter<\/a> that he wrote the song a couple of years ago. But I don’t for a second think this is just an old song they decided to release for fun. I fully anticipate that an album will be following at some point this year.<\/p>\n

For one, “Honey” ends with what sounds like a lead-in to another song. Flying Microtonal Banana<\/em> is subtitled as Explorations into Microtonal Tuning, Volume 1<\/em>. Could Volume 2<\/em> be on the way? I’m not sure about that, but I am pretty confident we will get at least one new King Gizzard album before the year is over. And honestly, I wouldn’t be surprised if we get more than one.<\/p>\n

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J. G. Quintel’s Close Enough<\/em> is Regular Show<\/em> For Adults<\/h2>\n

Jan<\/strong>: Remember Regular Show<\/em><\/a>? That show about a blue jay Mordecai and a raccoon Rigby friends, employed as groundskeepers at a local park and mostly spending their time goofing off and doing some crazy shenanigans? And usually, things have taken some supernatural\/surreal\/outlandish turn. Yeah, that was a different time then. The series remains very close to my heart. It was so much fun, and mainly it was about friendship. It featured a gumball machine as their boss, who was always upset at them, and also an immortal man, and Pops, who…yeah I am not gonna reveal that. It’s a huge spoiler, and I hate to spoil something for someone.<\/p>\n

Regular Show<\/em> was a perfect show for teenagers, adolescents, people coming of age, or people in their early 20s. It was heavily infused with ’80 and ’90s pop culture references and music, and it was just filled with general madness. Oh, and that finale is one of the few moments of cinema or TV series where I am allowed to cry. (There aren’t many of those but if I cry at a movie or a TV show, it’s gotta be worth it).<\/p>\n

Naturally, I was excited for what Quintel would sink his teeth into next and he didn’t disappoint. He abandoned the anthropomorphising tropes and went fully with people being people. And this time in their 30s. So there is your typical family: Josh and Emily and their little girl Candice. They live in an apartment along a divorced couple. And their shenanigans include the typical mundane stuff parents have to deal with—kid failing tests, helping out at your kid’s school, work…Look, I know it doesn’t sound like much on paper but this is another win for Quintel, where he delivers a quirky, surreal take on adulthood. Because even the most mundane stuff gets its own and surprising surreal twist—the magic touch of Quintel.<\/p>\n

I would not necessarily regard this show for adults only. A lot of the comedy is aimed at a wide demographic and there is no gross, or crass language. Mainly the themes that are discussed here are the gap between generations—someone who is just five years younger may have a completely different experience of the world and life and that is befuddling to me. Or this season’s arc for Josh is dealing with the feelings of failure. You know, you are in your 30s and you feel like you haven’t achieved your dreams yet, and may never will. Maybe you have achieved things you have never dreamed of, and you certainly are not a failure to the people around you that care.<\/p>\n

And then it delivers the season finale. Oh boy, is that something else. So we find out how Josh and Alex (their roommate) became friends. Their whole friendship is basically built upon their mutual love for Jim Carrey films—mainly The Cable Guy\u00a0<\/em>(an underrated film, in my opinion, Ben Stiller showing off his directorial chops and doing it with grace.),\u00a0Ace Ventura<\/em>,\u00a0The Mask<\/em>,\u00a0Dumb and Dumber<\/em>\u00a0and so on.<\/p>\n

They go to the Medieval Times restaurant (like in\u00a0The Cable Guy\u00a0<\/em>film) every year. And this year Alex has an important book deal so he can’t make it so Josh goes alone to wallow in his self-pity. Outside of the restaurant, he finds a dog, only this is not an ordinary dog. It’s a dog boy. It’s a dog and a boy. It’s both. Dog Boy ( as Josh calls him even though dog boy has a name) has escaped from a lab where other animal hybrids are created for nefarious purposes (people are tired of CG animals, so creating them like this to be used as practical effects is more efficient. The animals may not like your choice of projects to work in as actors though.) Dog Boy also shares Josh’s love for Jim Carrey comedies, as that is how he learned his broken English. Dog Boy has also studied at an online college and is happy to read and help with Alex’s novel. They all become friends and fight that evil lab. It is all quite touching and absolutely hilarious and genius. You just have to see for yourself. Oh and Weird Al Yankovic pops up in that episode as well.<\/p>\n

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Doctor Sleep<\/em> Director’s Cut<\/h2>\n

Hawk<\/strong>: Doctor Sleep\u00a0<\/em>turned out well\u2014better, I\u2019d venture, than the majority were expecting. While I still believe that the movie\u2019s attempt to be a sequel to both the book The<\/em> Shining\u00a0<\/em>and Kubrick\u2019s divergent film adaptation caused it to stumble a bit, Stephen King\u2019s voice was still alive and well in Mike Flanagan\u2019s epic two and a half-hour horror sequel. However, that wasn\u2019t even Flanagan\u2019s full vision, which is finally realized with his Director\u2019s Cut. While most \u201cDirector\u2019s Cuts\u201d are simply slightly longer and more mature versions of the theatrical version, Doctor Sleep<\/em> has some significant and interesting additions that not only add 30 minutes of footage but transform the mood, pacing, emotion, and context of vital scenes. It is unquestionably the superior version.<\/p>\n

Flanagan is one of, if not my favorite, directors working today, and one whose track record make me fully invested and confident in whatever he announces as his next project. He is spectacularly gifted at weaving trauma and terror, manifesting the specters and scares intangible horror moments whilst rooting them in grief, trauma, and mental illness. It\u2019s not remotely a novel concept, but the key is in the execution.<\/p>\n

If you\u2019re not specifically looking for them, some of the changes might not even consciously register at the moment, though they will end up enriching the viewing: some small scenes are added, and other key scenes are elongated, both adding additional dialogue that grants texture to its characters and world; some reaction shots hold for longer, letting the emotional element resonate. Even the addition of a single new line can help tie together larger thematic arcs later on. The theatrical cut is already great but had the sense of this much larger world and mythology involving those who Shine. I still maintain that this story may have been better served by a miniseries (still under Flanagan, mind), but at the very least the extra half hour gives that world a bit more room to breathe. Both versions are very slow-paced, but I don\u2019t think I can even revisit the theatrical version<\/a> anymore without it feeling incomplete and, dare I say it, fragmented. Additional context is also given to The True Knot, and the horrifying slaughter of Baseball Boy is even more violent and shocking than before, making the cult of vampires even more foreboding.<\/p>\n

More importantly, is how this new cut benefits Jack Torrance and his relationship with Wendy and Danny. While The Shining\u00a0<\/em>and\u00a0Doctor Sleep<\/em> generally see Jack mainly as a man who succumbed to his own demons and the evil of the hotel, some of the additional 30 minutes frame Jack in a different way, seeing the lighter side of the man who, despite his plummet to rock bottom, made attempts to push back and be better. It adds a significant new layer to Danny as well, further highlighting the struggles with addiction he shares with Jack and his desire to not become like his father. Specifically, I personally think this improves the final act, which in the theatrical cut felt a little too beholden to the conflicting voices of Kubrick and King, while here feels more cohesive with Danny\u2019s arc and King\u2019s vision. \u00a0The heartbreaking theme of generational trauma is the driving force of the story, and the Director\u2019s Cut is a slam dunk at fully exploring that theme.<\/p>\n

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Those are our recommendations this week! What are yours? Let us know in the comments!<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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This week, Cat Smith is listening to the audiobook of Neil Gaiman’s The Sandman, Bryan O’Donnell is jamming to King Gizzard and the Lizard Wizard’s new song “Honey,” Hawk Ripjaw recommends the Director’s Cut of Doctor Sleep, […] More<\/a><\/p>\n","protected":false},"author":19,"featured_media":130097,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5228],"tags":[108,144,2184,3892],"yoast_head":"\nThe Sandman, Close Enough, and More!<\/title>\n<meta name=\"description\" content=\"Staff recommend the audiobook of The Sandman, King Gizzard and the Lizard Wizard's "Honey," Doctor Sleep Director's Cut and Close Enough\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tvobsessive.com\/2020\/07\/18\/whats-the-buzz-the-sandman-close-enough-and-more\/\" \/>\n<link rel=\"next\" 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