{"id":73108,"date":"2019-06-22T09:00:05","date_gmt":"2019-06-22T13:00:05","guid":{"rendered":"https:\/\/25yearslatersite.com\/?p=73108"},"modified":"2024-04-10T00:24:15","modified_gmt":"2024-04-10T04:24:15","slug":"whats-the-buzz-finds-of-the-week-taylor-swift-neon-genesis-evangelion-and-more","status":"publish","type":"post","link":"https:\/\/tvobsessive.com\/2019\/06\/22\/whats-the-buzz-finds-of-the-week-taylor-swift-neon-genesis-evangelion-and-more\/","title":{"rendered":"Taylor Swift, Neon Genesis Evangelion, 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\u2019s entries come from: Rachel Stewart<\/a>, Andy Hageman<\/a>, Caemeron Crain<\/a>, and John Bernardy<\/a>.
\n<\/em><\/p>\n

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Rachel<\/strong>: Well, it\u2019s been a week. Right out of the gate, Taylor Swift dropped her new video for \u201cYou Need to Calm Down,\u201d in all its glorious gay and kitschy technicolor. The Internet has acted accordingly by not<\/em> being calm at all. From breaking down all the cameos<\/a>, wondering what it really means, to speculating on whether or not she stole the concept from Beyonce<\/a>, fans and haters have been wild. One thing is crystal clear to me: here is a pop star using her platform and wealth to support human rights when LGBTQ rights are under fire in the United States, and well, frankly, lots of other countries around the globe.<\/p>\n

The video is littered (and glittered) with references to gay icons (That \u201cMom, I am a Rich Man\u201d painting is an iconic Cher quote) while giving LGBTQ celebs from Youtube, TV (RuPaul\u2019s Drag Race<\/em> and Queer Eye<\/em><\/a>), and music (Hayley Kiyoko, Adam Lambert) their day in the sun. Swift isn\u2019t shy or coy when it comes to calling out the very fanbase that built her early country-focused career (portrayed here as flannel-decked redneck types with slur-filled signs). If anything, girl has finally snapped and has had enough of the homophobia and hate. She\u2019s been writing her state leaders and the video ends with a call to action to sign her petition for the Equality Act. I feel like she quit playing nice two album cycles ago, but girlfriend decided to make an irreverent but piercing pop statement on how we should treating one another. And girl, I AM LIVING FOR IT.<\/p>\n

She\u2019s putting her money where her mouth is and creating a summer bop in the process. I\u2019m not the biggest fan (although I think 1989 is a pop album of perfect proportions), but I gotta give a fellow Tennessee girl props where they\u2019re due. Since the video launched, GLAAD (who is name checked in the lyrics) has also seen an influx of donations. Between her and Miley<\/a> (whose new EP<\/a> is even more amazing and also features RuPaul), I\u2019d say there\u2019s more than one way to be a woke and compassionate southern lady these days. PLUS THANK GOD IT’S BEEN 84 YEARS AND THE KATY PERRY FEUD IS FINALLY OVER.<\/p>\n

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Andy<\/strong>: If you\u2019re keen to find a summer read that is aggressively addictive, politically poignant, and downright dangers, This Storm<\/em> by James Ellroy hits this sophisticated mark.<\/p>\n

Every single line of the novel, like all of Ellroy\u2019s previous Los Angeles crime fictions, bristles with energy as it drives the narrative forward. The prose drives at such a manic pace that reading This Storm<\/em> is a haptic experience; you may need to take breaks every few pages to let your brain cool off and your blood pressure slide down a few dozen digits. What\u2019s amazing is how Ellroy sustains this style for 581 pages, and he bends the speed towards combinations of horror and hilarity that seem paradoxical. You\u2019ll experience affective short circuits one after another.<\/p>\n

For readers already immersed in Ellroy\u2019s work, the extension of Dudley Smith, Kay Lake, and many others who\u2019ve featured in his other novels delivers a serious fix of what you\u2019ve been craving. Having read the massive volumes of the L.A. Quartet (The Black Dahlia<\/em>, The Big<\/em> Nowhere<\/em>, L.A. Confidential<\/em>, White Jazz<\/em>), I recognize my own complicated appreciation of and addiction to the cast of characters who\u2019re all by turns corrupt and endearing in often unsettling ways. I also yearn for more pages of Ellroy conjuring 1940s-50s Los Angeles. His fiction is a veritable time machine and somehow swerves wide of nostalgia even as it evinces city love.<\/p>\n

For readers new to Ellroy, This Storm<\/em> is best read after reading either Perfidia<\/em> or a robust synopsis of that novel. In particular, Ellroy walks us into the life and mind of Dr. Hideo Ashida first in Perfidia<\/em>, the plot of which unfolds in the days just before, through, and following the December 7, 1941 attack on Pearl Harbor. Ashida\u2019s police science acumen is as effervescent as his character flaws, and all at this time in U.S. history when Japanese Americans were reprehensibly interned and had their wealth, land, and so on confiscated. Dr. Ashida stands as a stellar addition to the characters Ellroy has birthed into the literary world, and where Perfidia<\/em> throws us into compelling empathy with this new person, This Storm<\/em> lets us shadow him as he navigates ever deeper entanglements in police corruption that seem at turns outrageous and within the realm of possibility.<\/p>\n

A final note on the political poignancy. The racism, misogyny, gun violence, and physical brutality in This Storm<\/em> are as intense as you\u2019ll find in any literature. I can see how some readers and critics may condemn this novel as overly lurid. Yet, I think there\u2019s an argument to be made for the place of such aesthetics right now, especially in the U.S. The culture of violence on display in This Storm<\/em> is set in the early 1940s, but there hardly feels like there\u2019s any historical distance between the white supremacy of that era and what\u2019s taking place today. As such, Ellroy\u2019s novel can provoke readers to analyze the state of the nation today with a careful eye toward what\u2019s come before.<\/p>\n

But more significantly, Ellroy\u2019s novel doesn\u2019t provide characters and\/or perspectives outside of such violence, and this can be a productive, if painful, scenario. In the absence of a moral character with whom readers can identity and thereby obtain a proxy position outside of the horrific elements of American history and culture, readers are confronted with our own complicity in power structures of exploitation. In short, This Storm<\/em> is a summer read that\u2019ll have you sacrificing sleep in order to see what happens next and then losing sleep as you investigate the implications of it all.<\/p>\n

\"James<\/p>\n

Caemeron<\/strong>: Adam Ruins Everything<\/em> has been on my radar for awhile, what with some subway ad campaigns and other things like that, but I didn’t really start watching it until Netflix recommended it to me recently. At which point I proceeded to binge everything they have on offer.<\/p>\n

The show features Adam Conover, who spends each episode explaining how commonly held notions about a topic are ill-informed, or, well…wrong. In this regard it is reminiscent of Penn & Teller: Bullshit!<\/em>—a show which I also enjoyed—but may actually be better, as sources for factual claims frequently appear on screen, and the show seems to make more of an effort in that regard than Penn and Teller did.<\/p>\n

Conover’s persona is potentially grating, but the show leans into that. In each episode, the conceit is that he is disillusioning some particular person with regard to the topic at hand, and the show tends to play it as if they hate him for it most of the time, before usually coming around at the end.<\/p>\n

But Adam isn’t a dick, and this is important. He comes across as someone who genuinely wants the truth, and to share it with others. Part of his schtick seems to be to not understand why people might prefer to live with their delusions, and this makes him endearing.<\/p>\n

So while he is “ruining” everything, really the show is about educating people in an entertaining way, with humor and compassion. And at the end of the day—if it’s possible—Adam tries to make us feel a bit better about how things actually are, and make suggestions about what we might do to improve them.<\/p>\n

I’m a sucker for this kind of show, but I would pretty much recommend it to anyone. With each episode clocking in at a little more than 20 minutes, it’s easy to sneak one in or plow through a bunch if you’re feeling it.<\/p>\n

The show airs on truTV, and besides the episodes that are available on Netflix, there are a number of clips one can watch on YouTube. I encourage you to check it out.<\/p>\n

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John<\/strong>: Neon Genesis Evangelion<\/em> is now on Netflix! And I\u2019m here to give you my first impression of the changes I\u2019ve noticed.<\/p>\n

The first thing is how the episode titles are written as the original translation from Japanese, rather than the Gainax-approved English translation<\/a>. An odd choice, especially since the titles cards within the episodes appear to be the same as ever, and therefore different from the listed titles.<\/p>\n

The thing that absolutely breaks my heart is that the classic jazz standard \u201cFly Me To The Moon\u201d is no longer the end credits song, so all the variations and remixes we got in the first airings of Eva<\/em> won\u2019t be here. I\u2019m concerned how they\u2019re going to handle that when the \u201cFly Me To The Moon\u201d melody is actually part of the score within episodes. Hopefully, those instances skirt around any licensing fees that made for the end credits switch.<\/p>\n

What do we get instead of the wistful pleasantness of that song? A purely serious solo piano doing a rendition of Rei\u2019s theme. Instead of the end credits having a certain call back to a different era, the tone is now really on the nose and also tied to the show\u2019s present day.<\/p>\n

I haven\u2019t watched the whole thing but I have watched two episodes to get a flavor for how the new English voice cast will work together.<\/p>\n

Shinji is less freaked out when presented with the giant Eva Unit 1. Casey Mongillo is less over the top than Spike Spencer but will handle the inner depths as well.<\/p>\n

Sue Ulu will always be my Dr. Ritsuko Akagi. The new actress Erica Lindbeck is keeping Ritsuko\u2019s personality close to the vest at work, so her sarcasm level is practically nil and she\u2019s merely cold.
\nCarrie Keranen\u2014the standout performer above the rest\u2014also plays things as if Misato was more professional at work but she regularly reaches the levels Allison Kieth could. I wish Lindbeck went where Ulu did because the original vibe I got when Ritsuko and Misato shared a scene was a familiarity and playfulness. Now, instead of teasing each other it\u2019s hard to tell if these coworkers even like each other.<\/p>\n

Stephanie McKeon gives Asuka a level of posh, rather than Tiffany Grant\u2019s choice to be brash. The new portrayal is still loaded with confidence, but it gives me the impression that Asuka is now a teacher\u2019s pet rather than a force of nature. It works fine enough\u2014especially considering that McKeon isn\u2019t afraid to go all-in during battles\u2014but it\u2019s just not the same.<\/p>\n

In the grand scheme of things, I think Eva<\/em>\u2019s a show that used to have a much-needed level of playfulness, and now it\u2019s balanced differently.<\/p>\n

Pre-Netflix, I loved how the goofy fun could level out the dark dramatics, but I don\u2019t know if it operates the same way anymore. Used to be, the mood of the show would always have moments of \u201cThis is a Serious Show\u201d inside it, but it still snuck up on you just how serious, until the humor dropped out in the 18th episode. And even then, episodes would still end with \u201cFly Me To The Moon\u201d. There\u2019s a juxtaposition in the original dub that Netflix actively chose to steer away from.
\nIs this a giant problem? Not necessarily, but this thing now reeks of \u201cThis is a Serious Show\u201d most of the time rather than gradually leaning into it over time.<\/p>\n

I still heavily recommend the show, especially if this is the only version you can find, but I also urge you, if you like what you see, to hunt down the original dubs to get the originally intended mood meant to go with the big ideas this show trades in.<\/p>\n

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

Welcome to What\u2019s the Buzz, where members of our staff provide you with recommendations on a weekly basis. This week\u2019s entries come from: Rachel Stewart, Andy Hageman, Caemeron Crain, and John Bernardy. Rachel: Well, it\u2019s been a week. Right out of the gate, Taylor Swift dropped her new video for \u201cYou Need to Calm Down,\u201d […] More<\/a><\/p>\n","protected":false},"author":19,"featured_media":73115,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5228],"tags":[2184,3915,40,108,551,1380],"yoast_head":"\nTaylor Swift, Neon Genesis Evangelion, and More!<\/title>\n<meta name=\"description\" content=\"Staff offer recommendations, from Taylor Swift to Adam Ruins Everything, Neon Genesis Evangelion, and James Ellroy's This Storm.\" \/>\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\/2019\/06\/22\/whats-the-buzz-finds-of-the-week-taylor-swift-neon-genesis-evangelion-and-more\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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