Prometheus is, in case you somehow haven’t heard, a prequel film to Alien. Not a direct prequel, granted (which oddly earned the movie some scorn from reviewers), but I guess an origin story. In fact, I think calling it an origin story is about a million times more accurate, because the movie explains the origins of the Aliens, while the cast attempts to search for the origin and the creation of mankind.
I don’t know if you’ve ever heard about this “The Facebook” thing that the kids are into, but did you know that those queer lovin’ chocolate thieves down at Oreo posted this unabashed declaration of war against God.
Progressive rock can be a tricky thing, both to listen to and to make. For those not in the know, progressive rock (or prog rock) is an attempt at expanding the scope, the meaning, the technicality, and the significance of music. Missing from most prog rock songs are the trappings of pop music, including (at times) even a chorus. Even the idea of a “single” is missing, and instead the focus is on the album as a whole. Artists typically take the advantage of an album’s full runtime to tell one huge, overarching (sometimes epic) story. A multitude of instruments are used to this end, with some songs simply being instrumentals intended to convey a particular emotion following (or preceding) a particular song. Prog rock albums tend to be, in and of themselves, entire rock operas. Rush’s 2112 is an excellent example of a prog rock concept album; it’s set in a dystopia controlled by the Priests of the Temples of Syrinx, who control Earth and are agents of the Solar Federation, who in turn control the universe. The priests control all cultural matter, from the posters that people can hang on their walls to what they can listen to. The protagonist finds a guitar and is amazed at it’s beauty and perfection; he shows the priests, who destroy it and rebuke him. The protagonist commits suicide just as another planetary war breaks out which frees the planet. 2112 is one of the best concept albums ever made which, for Rush, is (and has been) a tough act to follow. Read the rest of this entry »
Sirens is, undoubtedly, one of my most favourite shows of all time. As I explained in my review, part of what drew me to it was the utter realism of it all: I’ve never been a big fan of shows like ER or Grey’s Anatomy or House or whatever. These shows all seem to deal with diseases or conditions or people that are, in some way, supernatural. Working in a healthcare setting, you get to realise that the vast majority of what you deal with is, obviously, the ordinary. You occasionally get surprised but typically it’s the same thing; where I work, 95% of the time the individual we’re dealing with is either strung out on drugs or incredibly intoxicated. While there is the occasional variation, day-in and day-out, it’s the same thing. Occasionally you get to make a real difference — you save someone’s life, for example (but giving a drunk an IV and pumping him full of fluids and sending him off in the morning just for him to come back the next day just as drunk doesn’t count, I think) — but typically it remains normal. The conflict is one that is never ending and is ultimately more about the healthcare professional (the nurse, the doctor, the paramedic, etc) than it is about the patient. Read the rest of this entry »
The IT Crowd is another one of those kooky British TV shows on BBC4 (which, unlike Sirens, wasn’t unceremoniously canned), set in the fictional offices of Reynholm Industries in London. The show follows Moss (played by Richard Ayoade, middle), Roy (Chris O’Dowd, right), and Jen (Katherine Parkinson, background). Chris Morris plays Denholm Reynholm, the CEO, and Matt Berry plays Douglas Reynholm, Denholm’s son. I’ve heard the show described as a sort of “British Big Bang Theory” (BBBT if you will); I would add the caveat “except not shitty.” Moss and Roy are two, 30+ men working dead-end jobs as IT professionals. Their love lives are bleak, and have few friends. They’re witty, of course, and they like the hip, indie music scene. They’re nerds at heart, and are social pariahs in the officeplace. Jen, a new hire, is their manager, despite not knowing anything about computers (not even knowing what I.T. stands for) Denholm and Douglas are ultimately in charge, the former being an incredibly competent and firm businessman who rarely jokes, and the latter being an incompetent one who never stops joking. This main cast is supplemented by Noel Fielding who plays the IT department’s token goth, Richmond (left), and is one of the funniest characters on the show.
The New Jedi Order series continues with Dark Tide I: Onslaught, which happens to be one of the longest titles for a Star Wars book and certainly one with the most colons. Onslaught resumes where Vector Prime left off. The New Republic has dismissed the Yuuzhan Vong threat as having been dealt with and finished with their loss at Helska, but obviously the Original Trilogy gang know that that is not the case.