Monthly Archives: September 2023

When I was a teenager, one of my favorite albums was my fathers copy of the soundtrack from the 1983 movie The Big Chill. Booming from my fathers cassette player came Marvin Gaye, Smokey Robinson and the Temptations, the Rascals, the Steve Miller Band, the Spencer Davis Group, Aretha Franklin, and Creedence Clearwater Revivala veritable battery of the best of rock, Motown, and R&B from the 60s and 70s. I so adored Percy Sledges rendition of When a Man Loves a Woman that my wife and I danced to it at our wedding.

Growing up in the 1990s, the photo on the soundtrack intrigued me: I recognized Kevin Kline, Glenn Close, William Hurt, Tom Berenger, and, of course, Jeff Goldblum of Jurassic Park fame. Some of the other actors, such as Mary Kay Place and JoBeth Williams, saw their stars dim in the years after the film. Kevin Costner was supposed to have a small role, but his scenes were deleted. I remember asking my father what the movie was about. He shrugged. A bunch of former hippies get together for a weekend after one of their old college friends kills himself. Its a midlife crisis movie.

That seemed to me, even as an adolescent, a bit out of sync: Some of the best music of a generation, and the storyline is just a bunch of people of my fathers age hanging out? When I watched the movie many years later, I saw that my fathers description was not far off. Fifteen years removed from their graduation from the University of Michigan, four men and three women plus the deceaseds young ballerina girlfriend spend a weekend in South Carolina, drinking, doing drugs, watching college football, and struggling to reconcile their bourgeoisand in the case of Berrengers Hollywood actor character, celebritylifestyles with their now distant youthful idealism.

Its about as vapid and exculpatory as it sounds. In its narcissism, hedonism, and skepticism towards the American culture and economy its characters hypocritically enjoy, The Big Chill is the last word on the course of a generation and its incoherent mores. Its too bad Lawrence Kasdan, the writer and director, didnt realize that he was making a condemnation.

Christianity, unsurprisingly, is viewed as dull, irrelevant, and erroneous. Perhaps to emphasize this opinionthough it makes little narrative sensethe friends funeral is held at a rural Baptist church. The pastors eulogy is so stultifyingly formulaic that one of the female characters silently (and obviously skeptically) mouths the predictable words as he preaches them. In a not-so-subtle rejection of the doctrine of sin, Klines character ascends to the podium and declares the deceased, Alex, was too good for this world. Jo Beth Williams character concludes the ceremony by playing not a traditional hymn, but Alexs favorite song: the Rolling Stones You Cant Always Get What You Want. Foreshadowing trends Tara Isabella Burton explores in her book Strange Rites, in the absence of objective religious convictions, the characters mimic transcendent experiences through self-exploration.

And what better way for boomers to explore spirituality and meaning than via the Kerouacian consumption of various narcotics, which begins, at least in one case, on the car ride from the funeral to the cemetery. After the burial, the troupe makes their way to the married Kline and Closes characters charming Southern home for a weekend together. An atmosphere of nostalgia and a reimagined youth reign supremenot so different from the Villagesas the characters play pickup football in the yard, dance to the Oldies, and, of course, smoke copious amounts of weed.

Yet, a mood of melancholy hangs over the attendees, not only because of the loss of their friend, but what his tempestuous, supposedly ideologically pure life (and death) say about them. During a walk in the woods Kline and Goldblums character's recall their college days as two revolutionaries, when they believed property was a crime. But Kline is now a successful businessman and property owner, while Goldblum is a writer of trivial fluff pieces for People magazine. Was it all just fashion? asks Goldblum, channeling the self-doubts of a generation.

Exemplifying a clinical lack of self-awareness, the friends complain about how the real world is a cynical place full of manipulative and opportunistic people. William Hurts character was made impotent by a wound suffered during the Vietnam War; he is now a drug addict and pusher. Berengers character is divorced, with a daughter he rarely seeshe tired of marriage with its monotonous obligations. Williams character gave up a promising career as a writer to have a family and is now beholden to her thoroughly square husbands superficial life, as she calls it. Places character is a successful real estate attorney who jettisoned her idealistic, Huey P. Newtoninspired desire to be a public defender because a lot of her clients were (surprise!) contemptible criminals. But at least these friends have each other.

That theme is most fully realized in the most controversial storyline in The Big Chill. Places character has had trouble finding a man, frustrating her ticking biological clock. Over the weekend, she propositions Berengers and Hurts characters to father her childthey have good genesbut is rebuffed by both men. Thats where Closes character comes to the rescue. She persuades her husband, Klines character (the quintessential Southern gentleman), to sleep with her best friend. It is, were exhorted to believe, a supreme act of love and sacrifice that exemplifies what true friendship is all about: sex.

Nor is that the only redemptive sexual encounter that final evening in the house. Berenger and Williams characters, frustrated by their lives but feeling mutually understood, rekindle (albeit briefly) an old flame. The aggrieved and adrift Vietnam vet and the young ballerina do something physicalits not entirely clear what given hes supposed to impotentbut the result is that both feel a new sense of companionship and hope.

As far as the Boomer worldview goes, its a fitting denouement to the weekend. Free love, the hippie generation told themselves, can solve everything. Yet all the awkward questions stemming from fleeting sexual encounters remain unanswered. Williams character will have to go back to her now cuckolded husbanddoes she feel remorse? Will she leave him and the kids? Places character, even if she does get pregnant by her friends husband, will raise a child on her own. Will she tell the child that he or she is the result of a brief fling with an old friend who was gracious enough to impregnate her? Will that friend send birthday gifts? Will there be regular visits? In a style representative of the sexual revolution, the unsatisfying and disturbing effects of free lovewhich is never truly freeare quietly avoided.

Of course, modern science has made such scenarios less personal, if no less ethically fraught. If youre having trouble conceiving, you can have your spouse, a friend, or even a complete stranger provide the necessary biological goods via in vitro fertilizationearlier this year a Dutch sperm donor who sired more than 500 children was ordered by a court to stop his generosity. What in the 1980s era of The Big Chill required an act of misconceived sacrifice is now thoroughly commodified, as is much else about sex. Indeed, even the movies talk of good genes intimates that an instrumentalist, utilitarian view of sex was already implicitly present in the Boomer imagination. To the degree that sex involves the creation of children, it regards them as bespoke, quasi-technological eugenic products; otherwise, far from serving to renew the bond of marriage (how dull and constricting, especially when your spouse is such a square!), its simply there to make us feel good.

But do we? I havent met many happy people in my life. How do they act? asks the ballerina, in perhaps the most honest moment of the film. For all the Boomers altruistic aspirations and youthful vigor, they rebelled against their own rich cultural inheritanceHurts character at one point declares, No one had a cushier birth than us! That rebellion, in turn, precluded the now deracinated Boomers from possessing the spiritual and intellectual resources required to secure true happiness. Indeed, The Big Chill shows how many hippies ended up becoming the very thing they despised: self-aggrandizing, materialistic bourgeois professionals. Hence the deep dissatisfactionat least their parents believed in the American dream.

The great mystery of The Big Chill is why Alex killed himself. Its never resolved. As far as the viewer can tell, Alexs death, like his hedonistic life, was more or less meaningless: the last of a series of emotive, pseudo-intellectual choices that emulate, and eventually realize self-immolation. Perhaps thats a fitting description of the counterculture generation and the cultural inheritance bequeathed to their descendants, who are even more skeptical of America and its traditions.

But hey, at least the music was good.

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All Is (Boomer) Vanity - The American Conservative

From the opening kick drum of I Love Hollywood!, the LA-based artist has you gripped firmly by the shoulders. Dripping in synths, overlaid in transportive techno beats, the record is a guided tour through Slayyyters state of mind, from the depths of a bag to the highs of a good time there are even fleeting visits to her more vulnerable moments.

Opener I Love Hollywood! picks apart the toxic underpinnings of the west coast party scene: drugs, skipped meals, and inflated social currency. Its also a banger straight out the gate, chased down just as quickly by Miss Belladonna. The chorus is so thick its like syrup, oozing hedonism as Slayyyter laments that he lives for love and I live for drama. Elsewhere, Rhinestone Heart and Girl Like Me deliver two more slices of full-bodied girl pop. Memories Of You keeps pace, but veers from the carefree escapism that has so far dominated the albums focus. Slayyyter misses her ex, and shes not afraid to admit it.

Later, Tear Me Open winds the energy down for a similar tonal departure. Confessing that she wants to be with the object of her love forever, regardless of the pain that could bring, its quite the change from the flippant disregard of Dramatic, where she claims to be faithful to whoevers asking.

Slayyyters sense of humour becomes more pronounced towards the latter half of the record: Purrr turns an erratic, maximalist din into an undeniable hipshaker, while Plastic pays an astonishingly frank tribute to the beauty supplied by a doctors needle. Shes just as unabashed on closing track Out Of Time the big finish where she concludes that she hates herself / but if they all love her then she dont mind. The second part, certainly, is true.

Posting a very respectable 35 minutes in length, Slayyyters not here to waste time or mess around: STARFUCKER is an express delivery of utterly skipless dance belters. Plant your feet and let your mind melt.

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Slayyyter: STARFUCKER review - takes you on one hell of a night ... - The Line of Best Fit

The 1990s, now firmly in the rearview mirror, have evolved into a rich wellspring of nostalgia, influencing various facets of contemporary culture. The era's music, characterized by iconic bands like Nirvana, Spice Girls, and Boyz II Men, has seen a resurgence in popularity, with '90s-themed playlists and parties transporting audiences back in time. In the world of film, references to the '90s abound, with movies like Captain Marvel and Mid90s tapping into the decade's distinctive style and sensibilities.

Like the world of music, we've recently witnessed a slew of popular 90s movies and franchises being rebooted or remade, from the latest Scream installments hitting theaters after a decade-long hiatus or the recent Jumanji reboots that became surprise mega hits. This nostalgia has had further fuel added to the fire thanks to the rise of internet memes and social media, which has allowed the '90s to be constantly revisited and repurposed. (Per The Drum).

Here, we take a look at 10 of the greatest movies made in the modern day, but are set in the 90s, that perfectly encapsulate the bygone era and are dripping in nostalgia.

Super Dark Times is a gripping and atmospheric coming of age thriller that delves into the dark recesses of suburban adolescence. It follows a group of high school friends whose lives take a chilling turn when a tragic accident shatters their innocence. Set in the 1990s, the movie presents a perfect reflection of the era, from the abundance of flannel and plaid shirts to the grungy soundtrack, but in essence, its a timeless tale that could be set in any time period.

Showcasing the corrosive effects of guilt and secrecy on the bonds of friendship, it masterfully blends psychological suspense with the challenges of growing up, in a hauntingly atmospheric and visually arresting manner. It's a harrowing and thought-provoking cinematic experience that lingers long after the credits roll.

Captain Marvel, one of Marvel's more humorous entries, offers a delightful nostalgic feast for viewers of a certain age, thanks to its multitude of 1990s references that vividly remind us of the decade it's set in. From the moment Carol Danvers crashes through the roof of a Blockbuster Video store, were immediately transported back to the '90s, a world where the use of a pager was a crucial communication device and dial-up internet connection was a thing.

In addition to these nods to technology of a bygone era theres also a rocking '90s soundtrack featuring some of the biggest hits of the time from the likes of Nirvana, TLC, Salt-N-Pepa, and No Doubt.

Skateboarding, as a sport, reached its commercial peak in the mid-1990s, igniting a cultural phenomenon that extended far beyond the sport itself. During this era, skateboarding became more than just a pastime; it evolved into a vibrant subculture with its own unique fashion and music scene to accompany it.

Jonah Hill's film Mid90s expertly captures the essence of this subculture. Through its authentic portrayal of characters and their experiences, the movie delves deep into the subculture's distinctive atmosphere. It pays meticulous attention to the fashion, showcasing the baggy clothes, oversized T-shirts, and distinct skate shoe brands that were emblematic of the time as well as a time appropriate soundtrack consisting of '90s alternative rock and hip-hop tracks.

I, Tonya recounts the tumultuous life and career of figure skater Tonya Harding, whose involvement in a vicious attack on her rival, Nancy Kerrigan, shook the world in the 90s. With a blend of dark comedy and raw drama, the movie delves into the complexities of Tonya's life, from her challenging upbringing to her rise in the competitive world of figure skating.

Margot Robbie's portrayal of Tonya is among her greatest performances to date as she captures Tonyas sheer resilience and defiance amidst a whirlwind of controversy. The film doesn't merely recount the scandal but also sheds light on the media frenzy and societal judgments that surrounded it, offering a thought-provoking commentary on fame, class, and the pursuit of success.

Related: The Best Action Movie of Every Year in the 90s

Released in 2008, The Wackness might not be such a modern movie anymore, but still does a fine job of capturing the essence of what made the 90s such a unique decade. It captures the essence of youth, rebellion, and self-discovery in the bustling backdrop of New York City. Set in the summer of 1994, the film follows Luke Shapiro, a high school graduate and marijuana dealer played by Josh Peck, as he forms an unlikely friendship with his therapist, Dr. Squires, portrayed by Ben Kingsley.

The movie masterfully intertwines humor, drama, and nostalgia as it explores the turbulence of adolescence, family dynamics, and the pursuit of happiness during a pivotal moment in the characters' lives. With a soundtrack filled with '90s hip-hop hits and a keen eye for the era's fashion and culture.

The Wolf of Wall Street offers a no-holds-barred portrayal of the culture of Wall Street from the late-80s into the 90s, providing a scathing and often outrageous critique of the excesses and decadence that defined the financial industry during that era.

Directed by Martin Scorsese, the film is based on the real-life story of Jordan Belfort, played by Leonardo DiCaprio, who rises to power as a stockbroker and revels in a life of hedonism, greed, and corruption. It vividly illustrates the cutthroat environment of the financial world in the 1990s, where unscrupulous practices, obscene wealth, and a disregard for legal and ethical boundaries were rampant.

Climax is a provocative, unnerving, and often disturbing cinematic experience, directed by Gaspar No. The film immerses viewers in the heart-pounding world of a dance troupe that descends into chaos after unknowingly consuming a drug-laced sangria during a post-rehearsal party in the mid-'90s. In true No fashion, the movie takes a daring and unconventional approach to storytelling and cinematography.

The movie unfolds in a series of long, unbroken takes, creating an immersive and disorienting experience that mirrors the characters' psychological descent. This combined with a pulsating electronic soundtrack, delves deep into the raw and primal aspects of human behavior, capturing both the allure and horrors of a nightmarish trip, that is certainly not for the faint of heart.

Related: The 10 Most Controversial Horror Movies of the 1990s

Based on the works of acclaimed horror writer R.L. Stine, Netflix's Fear Street trilogy is presented across three movies each set in a different time period. The first installment, set in 1994, revolves around a group of teenagers who must confront their town's dark history and a malevolent force that has plagued it for centuries.

Instantly bringing to mind classic 90s horror movies like Scream and I know What You Did Last Summer, it successfully taps into the spirit of '90s teen horror while also adding its unique spin to the genre, setting the stage for an intriguing trilogy that spans different time periods and styles of horror.

Directed by Danny Boyle, Steve Jobs is a compelling portrayal of a man who had an immense impact on the way the 1990s unfolded and the trajectory of technology as a whole (per Business News Daily). Steve Jobs, co-founder of Apple Inc., was not only a visionary entrepreneur, but also a cultural icon. His relentless pursuit of innovation, as depicted in the film, not only revolutionized the tech industry, but also shaped the way people communicate, work, and interact with technology in the 1990s and beyond.

With a focus on his role in the creation of iconic products like the Macintosh, the film captures the essence of the digital age's formative years, showcasing Jobs' complex personality, his challenges, and his enduring legacy as a driving force behind the technological advancements that defined the 1990s and continue to influence our lives today.

Tick, Tick... Boom! is a musical film directed by Lin-Manuel Miranda, set in the 90s. It's an adaptation of the semi-autobiographical musical by Jonathan Larson, the creator of Rent. The story follows an aspiring composer named Jon, played by Andrew Garfield, as he navigates the challenges of pursuing his artistic dreams in New York City. Against the backdrop of the early-90s, the film explores themes of creativity, friendship, and the pressures of turning 30 while trying to make it in the competitive world of theater. T

ick, Tick... Boom! captures the spirit of the era, with its soundtrack featuring a blend of rock and pop tunes reminiscent of the '90s music scene. It offers a poignant and nostalgic look at the pursuit of passion and the struggles that come with it during a transformative decade.

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10 Best Modern Movies Set in the 1990s - MovieWeb

26 Sep 2023 --- Sauces, dressings and condiments have long been a staple for foodservice and in the home. Every culture on the continent has its own unique sauce and condiment traditions, and now consumers are looking for new and innovative condiments with stand-out colors and diverse applications that inspire them.

Sense Colour, Givaudans natural color business unit, is exploring the use of natural colors in sauces, seasonings, mayos and dressings that can enhance their visual appeal and support the new flavor and food experiences that customers crave.

Global & social drivers Speaking to Food Ingredients Firstahead of its webinar entitled Captivating Culinary: Natural colours for sauces, mayos & more, Catalina Ospina, technical marketing specialist at the company, says culinary ingredients are subject to many of the same drivers that are moving other food categories.

Consumers look for cooking and eating experiences that involve guiltless indulgence, endorse ethical and environmental commitments, offer value beyond price and engage all the senses. Natural colors check all of these boxes by providing the enjoyment of new and exciting or comforting feelings when consuming sauces and condiments and providing ingredients with simple, recognizable labels manufactured with sustainability and responsible practices in mind.

Natural ingredients and colors in sauces, condiments and dressings are fast becoming the norm for many product developers.With the aftereffects of the pandemic, growing inflation rates and socioeconomic uncertainties, cooking and eating at home represent a way to regain control over life aspects that greatly need attention: mindful socialization, health and wellness and revindication of affordable hedonism.

Consumers are looking for sauces, seasonings and cooking preparations that uplift the at-home eating experience with gourmet-level flavors, a fusion of tradition and exploration of the exotic, Ospina continues. Complex and contrasting flavors and colors remain, while consumers adopt a reductionist approach to factors like sodium, fats and added sugars, explains Ospina.

Meanwhile, Katie Rountree, senior applications scientist at the company, adds that the use of natural colors has grown significantly in the past ten to fifteen years and will continue going forward.

Even with the current inflation, finding products with simple, recognizable ingredients is highly important to consumers, so formulating with more natural ingredients is the new norm for many product developers.

On-trend flavors & colors Regardless of future flavors or regional trends, colors are important for setting taste and texture expectations, she flags. They help create food experiences ranging from familiar and comforting to bold and exciting or unexpected.

Rountree believes that now is a great time for culinary inspiration to be explored because consumers are more engaged with cooking at home due to inflation and an interest in mindful consumption.

This, coupled with current trends in multi-level fusion flavors and spicy flavors offer a great opportunity to introduce colors that can match up with these powerful flavors for memorable mealtimes with the family, she underscores.

Addressing technical gaps Ospina highlights the latest innovations Givaudan Sense Colour has in the pipeline.

We are working on the existing technical gaps in the natural colors palette by exploring improved agricultural and biotechnological sources and processes to obtain higher pigment concentrations, which impacts our products cost-in-use and carbon footprint, she notes.

We are also fine-tuning formulation technologies tailored for improved performance when subjected to challenging conditions.

Also discussing her predictions for how the category will expand in 2024, Ospina reveals that current explorations of sensorial stimulation will flourish, balancing unexpected and exotic influences with traditional and nostalgic recipes.Products with recognizable ingredients are more appealing to consumers.

Meanwhile, the premiumization of brands and products will be seen as a personal status-boosting element, with Millennials and Gen Zs proclivity to share their meals and habits on social media, she adds.

And as social media is all about visual input, the appearance and attractiveness of colors in sauces and condiments will be paramount for the virality of brands.

In the webinar, which will be broadcast on October 10, viewers will be able to see how many colorful solutions are out there for the culinary segment while also learning various tips and tricks on how to best apply and test natural colors when developing new culinary applications.

Well also share ideas and inspiration where natural colors can be used to elevate the sensory experience in consonance with the current and incoming consumer trends, summarizes Rountree.

You can sign up for the webinar here.

By Elizabeth Green

To contact our editorial team please email us at editorial@cnsmedia.com

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Condiments & sauces category propelled by natural colors and ... - Food Ingredients First

Daisy Phillipson

Published: 2023-09-26T16:45:44

Updated : 2023-09-26T16:45:57

Though Dumb Money has been compared to classic stock market movies such as The Big Short and The Wolf of Wall Street, director Craig Gillespie has highlighted a fundamental difference between them.

Dumb Money dropped in cinemas last week, telling the modern-day David and Goliath tale of the 2021 GameStop saga. At the center of the story is Keith Gill, whose social media posts accidentally spurred a grassroots movement in which retail investors took on the Wall Street titans.

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The compelling story coupled with a star-studded cast including the likes of Paul Dano, Pete Davidson, and Seth Rogen has led to Dumb Money earning favorable reviews and an 85% score with critics and audiences alike on Rotten Tomatoes.

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Amid the reaction to Dumb Money, viewers have made numerous comparisons to other movies that deal with the stock market, including The Wolf of Wall Street. But theres one major difference between these two cinematic spectacles, as explained by Gillespie.

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Dexerto sat down with Dumb Money director Craig Gillespie, who spoke about the parallels and differences between his movie and films like The Wolf of Wall Street and The Big Short.

Its kind of an obvious comparison, you know, when youre dealing with the stock market, the filmmaker told us while highlighting that theres a humor and an energy and a pace to Dumb Money that could be perceived as similar to the others.

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But really the fundamental difference is, both The Big Short and The Wolf of Wall Street, its kind of insider trading in the sense of its about these bankers in the world that they live in, Gillespie explained.

Dumb Money is very much from the outside looking in. This is about our Reddit users; about the everyday person who tried to get into the stock market and really wanted to make a statement with it and go after the one-percenters.

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While some believe The Wolf of Wall Street glamorized and celebrated the excess and hedonism of Jordan Belfort and his cronies although this is still up for debate the key message of Dumb Money is clear.

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Its really about this disparity of wealth particularly in America but its happening across the world and wanting to be heard, Gillespie added. And when you have eight million people who come together as a united voice, its very different from these singular traders that you have in these other films.

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Dumb Money is in cinemas now, and you can check out more of our coverage below:

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Dumb Money director reveals fundamental difference with Wolf of ... - Dexerto

Musical Moodboardis a recurring EW feature in which musicians share the inspirations behind their new album.

Connected. That's how Troye Sivan hopes you'll feel when you reach the final track of his upcoming third LP, Something to Give Each Other. The 28-year-old Australian singer, songwriter, and actor has checked the sober tone of his previous albums at the door now he just wants to party. "There's a couple of lyrics on this album that actually make me laugh," Sivan tells EW. "I think we were just having such a good time when we made it that you can really feel that."

Sivan started out making videos of himself on YouTube a decade ago before releasing 2015's moody Blue Neighbourhood and 2018's bittersweet Bloom, and eventually starring alongside Nicole Kidman in the film Boy Erased and Lily-Rose Depp in this year's divisive Max series The Idol.

Alex Sandoval - Source: Stuart Winecoff / Virgin Records / Adobe Stock / Focus Features Troye Sivan unpacks the inspirations behind his album 'Something to Give Each Other'

Through his music, he has documented his experiences with heartbreak in painstaking detail, but his new record is about fresh starts. He describes the motivation behind it like flicking a switch; it captures when being single goes from somber to sexy. "When you're going through a breakup or a tough time there's this moment where you realize that in this sorrow, there's also possibility and hope," Sivan says. "There's all this possibility of, 'Where are you going to go? What are you going to do? Who are you going to meet?' I love sharing that with people, having just been through it."

His quest of self-discovery included a journey to Bangkok, for the video for "Got Me Started," his latest song. "It's awesome. I think it's maybe the most proud I've ever been of a music video," Sivan says. Hedonism, too, was part of the ride, as evidenced by the sticky, sultry, choreography-filled bacchanalia in the video "Rush," Something to Give Each Other's pulsing lead single. "'Rush' is sort of this turbo party, and then 'Got Me Started' was always a bit more like when you're feeling yourself and moving solo through the world and encountering all of these people along the way."

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Sivan chatted with EW about the various inspirations behind Something to Give Each Other, from Janet to Lost in Translation to his dive into nightlife.

'Damita Jo' by Janet Jackson and 'Sugar World' by Jonatan Leandoer96

"Janet Jackson's Damita Jo that album for me just hit such a sweet spot, with this warmth that I love in pop music. It's almost super sweet there's something borderline bubblegum about the melodies but then the taste level is so high. It's also totally infused with sex and R&B."

"Then there's that album Sugar World by Jonatan Leandoer96 Yung Lean's side project. It has these interesting moments with that same kind of warmth, but it sounds completely different from Janet. It was more the feeling of it than specific sonics. I knew my album had to at least have moments of that sort of sweet joy."

"The movie Lost in Translation was visually inspiring to me, and thematically, Before Sunrise was. The idea of two people coming together for a very brief moment and having this deep connection that is going to expire, and the fact that that's sort of okay that was really inspiring to me."

"I'm obsessed with the idea of global pop, and I wanted this album to feel very global. I was so inspired by traveling, and I had a really amazing summer this year bopping around Europe, and I spent so much time in Asia in 2019. We went to Berlin to make the "Rush" video. We went to Bangkok to make the "Got Me Started" video. I wanted to reflect the idea that pop music really, really can bring people together."

"I was really inspired by partying on this album, more so than ever. Definitely nights out on Smith Street in Melbourne. A lot of the album took place there, inspirationally, and then also while I was traveling. The thing I'm really looking for when I go out is that tipping point where all of a sudden your self-awareness totally disappears and your body becomes loose and you sink into the music and you sink into the night and you're just with your friends. It's not intoxication-related. I've had that moment sober, where it's just something about the euphoria of the moment."

The cover of the Craig Hundley Trio album 'Craig Hundley Plays With the Big Boys'; the cover for Troye Sivan's 'Something to Give Each Other'

"I was in a record store and I picked up this album called Craig Hundley Plays With the Big Boys, where the guy is smiling super, super big on the cover. There was something so sweet and genuine about his smile that I felt very connected to him just looking at it. In the end, my album cover doesn't look anything like that, but it put the idea in my head. I was like, ''Damn, it would be kind of badass to smile really big on the album.'"

youtube Troye Sivan enjoys a quick chug with his costars in the 'Rush' video

"When I'm in Australia, I drink a lot of beer. The album was so warm to me temperature-wise, and that's my go-to drink when it's hot and sweaty. All I want is an ice-cold beer."

Something to Give Each Other is out Oct. 13.

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How Janet Jackson, Lost in Translation, and Melbourne nights inspired Troye Sivan's new album - Yahoo Eurosport UK

I began by submitting this question for ChatGPTs consideration:

Russell Brand has had several different moments of fame in his career, as an entertainer, a comedian and more recently a political pundit and activist. He has always cultivated a style of being outrageous in his language and demeanor. Though it has drifted from narcissism to social punditry, the glibly outrageous style behind it works and he exploits it for profit. While polite society frowns upon the kind of excess Brand has always displayed in his public behavior, it also celebrates it when it leads to financial success. Even more so, when it turns someone into a celebrity.

Celebrities as diverse as Donald Trump, Elon Musk or Russell Brand play on their ability to provoke strong and opposed reactions: adulation on one side, hatred and condemnation on the other. They inhabit a cultural zone that we call hyperreality because it is an environment in which they are exempted from the rules and expectations we apply to ordinary people who understand their duty to comply with social norms.

Russell Brand is now being shamed, cancelled and demonetized for his behavior in the past as a celebrated outrageous personality. The motives behind his public shaming are ambiguous. His defenders claim they are political. This makes sense, given the fact that Brand has publicly confessed to being guilty of the hyperreal behavior everyone now condemns. He formally abjures this behavior as aberrant.

The British establishment, including the BBC, happy to profit from Brands outrageous behavior at the time, is now, according to The Guardian, actively seeking to prevent Brand from being able to profit personally from his content on the platform he uses to reach his public. The platform is Rumble. He has already been demonetized by YouTube, which is notorious for demonetizing without explanation voices deemed undesirable by anonymous parties, including governments. Rumble expressed its indignation at the government pressure for censorship, noting the absence of any connection between the allegations and his content on Rumble.

The real question in the background which nobody seems to be asking is this: Does it make sense to materially punish individuals for behavior that was tolerated and even encouraged in the past when social expectations seemed to be very different? The secondary question is just as important: Is the appetite to cripple Brand economically related to concern for the alleged victims or is it the hypocritical exploitation of a pretext for punishing someone who is now focused on opposing the political and economic establishment?

ChatGPTs breakdown of this question turned out to be balanced and helpful. AI does a good job of summarizing questions that others have already publicly debated. Here it is in full:

The situation you describe involving Russell Brand and his recent experiences with being shamed, canceled, and demonetized raises several complex questions about the evolving standards of public behavior, accountability, and the motivations behind such actions. Lets unpack some of the key points and questions raised:

Changing Social Norms: One of the central issues is the evolving nature of social norms and expectations. Its true that in the past, certain behaviors that are now deemed unacceptable or controversial might have been tolerated or even celebrated. Societal norms do shift over time, and what was once acceptable may no longer be so. The question arises as to whether individuals should be held accountable for their past actions based on current standards.

Hyperreality and Public Figures: Public figures like Russell Brand often occupy a unique cultural space where they can push boundaries and provoke strong reactions. Their ability to do so can lead to both fame and criticism. This phenomenon is not limited to Brand but has been observed with other figures like Donald Trump and Elon Musk. The concept of hyperreality suggests that they operate in a realm where conventional rules may not apply in the same way.

Motivations for Shaming and Cancellation: Determining the motivations behind shaming and canceling individuals can be complex. Some may argue that it is driven by genuine concern for addressing past wrongs or harm caused. Others may believe that it is driven by political or economic motives, especially if the individual in question has shifted their focus to opposing the establishment. Distinguishing between genuine accountability and politically motivated actions can be challenging.

Reformation and Accountability: The case of Russell Brands reformation and condemnation of his past behavior raises questions about whether individuals should be given an opportunity to reflect, change, and make amends for their past actions. Is it reasonable to hold someone accountable for actions they have disavowed and actively worked to change?

Platform Policies and Censorship: The role of online platforms like YouTube and Rumble in demonetizing or restricting content creators is another contentious issue. These platforms face pressure from various stakeholders, including governments, to moderate content. Decisions about demonetization are often opaque and can raise concerns about free speech and censorship.

It concluded by reflecting on the importance of examining the motivations behind actions taken against public figureswhere it is crucial to determine whether they are genuinely driven by concerns for justice and accountability or are influenced by other factors.

Encouraged by this I followed up with another question.

One of the factors concerns a trend that came to prominence in the rock culture of the sixties: the groupie phenomenon. Although Brand was not a rocker, he cultivated the reputation of an impertinent long-haired, drug-addled promiscuous sex symbol. Consequently, like any famous rocker, he was constantly approached by young women wanting to share a moment of intimacy with a hyperreal sex symbol. The permanent danger is that this could easily lead to misinterpreting intentions or supposing intentions that didnt exist. Although Brand says every relationship he had was consensual and he probably believes it he may well have been misreading the situation with some of the women he met.

Addressing the very real damage done from such incidents is traditionally carried out through the legal system, not the media. It typically leads either to acquittal for lack of material evidence or settlement. In Brands case, more than a decade after the events, the British government and media have put pressure on social media not to defend the interests of the victims or bring Brand to justice, but to deprive the man of his livelihood. Does this well-organized campaign demonstrate that the motives are essentially political? Unlike Harvey Weinstein, Brand stopped claims to have given up his evil ways years ago, when he discovered spirituality and denounced his own hedonism. Can the best explanation be that the establishment sees a critique of its values from a spiritual position as even more suspect than a purely political opposition?

At this point, in a much longer response that contained reflection on general principles, ChatGPT made this significant observation:

Its possible that Russell Brands transformation from a hedonistic lifestyle to one focused on spirituality and critique of establishment values has made him a target for political or ideological opposition. Critics may see his critique as a challenge to the status quo and respond by attempting to undermine his influence.

I then asked another question to clarify the social and political meaning of the Russell Brand affair.

Would it be fair to see in this affair a discernible trend that demonstrates a growing impatience in our society with the very notion of due process? Governments are increasingly using the media, including social media, not only to censure but even to punish non-conforming individuals who acquire a power of influence.

In ChatGPTs typically verbose and waffling response, it offered this predictable but fundamentally anodyne advice:

Balancing the need for accountability with the principles of due process and fairness is a complex challenge in the digital age. Its essential for individuals and society as a whole to engage in thoughtful discussions about how to strike this balance and ensure that judgments and consequences are fair, transparent, and based on a full understanding of the facts. Additionally, the role of governments and media in influencing public discourse and the treatment of individuals is an important topic for scrutiny and debate.

I then threw out this question:

My point is that when the authorities in a democracy demonstrate their own impatience with due process, shouldnt we take that as a sign that democratic values themselves have been compromised?

Chat GPT expressed what I can only call its sympathy in the form of a reflection on the proper uses of democracy.

Democracies thrive when there is a commitment to these values, and any deviation from them should be a matter of concern and scrutiny by the public and institutions responsible for maintaining the democratic framework.

*[Artificial Intelligence is rapidly becoming a feature of everyones daily life. We unconsciously perceive it either as a friend or foe, a helper or destroyer. At Fair Observer, we see it as a tool of creativity, capable of revealing the complex relationship between humans and machines.]

The views expressed in this article are the authors own and do not necessarily reflect Fair Observers editorial policy.

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Outside the Box: Is Russell Brand a Victim of Groupie Culture? - Fair Observer

While Russia claims to have escaped the grip of Western sanctions, everyday Russians are struggling. The Kremlins mouthpieces responded with admiration for penniless North Koreans.

The week-long visit of Kim Jong Un to Russia couldnt have come at a more perfect time, allowing Putins mouthpieces togush over Russias newfound affinity for North Korea,to express admirationfor the hermit kingdom, and conclude that viewers should reject savage capitalism.

During last weeks broadcast ofThe Evening With Vladimir Solovyov, political scientist Sergey Mikheyev praised Kim Jong Un as a dude with a square head, who is keeping the West on tenterhooks. He marveled at the way the people of North Korea were able to withstand Western pressure because they arent sensitive to the absence of modern luxuries and are therefore inured to sanctions.

What can you forbid to North Koreans? Mikheyev said. To drink Coca-Cola? They dont have it anyway! To watch Hollywood movies? They dont have them anyway! Youll turn off their Internet? They dont have it anyway! You wont import iPhones? They dont have them anyway! You will forbid them to travel to Europe and America? They arent traveling anyway! There is no way to get to them.

The irony of this celebration of hopeless poverty seemed lost upon the host, Vladimir Solovyov, who uses the latest version of the iPhone, had his $9m Italian properties on Lake Como seized by the authoritiesand complainedabout the sanctions-related inability to service foreign-made cars.

Presenters on Solovyovs own channel, Solovyov Live, took the austere line of reasoning even further. The host of Day Z, Yulia Vityazeva, played video clips of a Russian military choir giving a concert in Pyongyang, claiming that the appearance of clean and smiling people in the audience disproved Western narratives about the scarcity of food. She said that on closer inspection, all the stereotypes are shattered into a million pieces, while admitting that Russians have habitually ignored North Korea, and acknowledged shes never visited.

On Karnaukhovs Labyrinth, host Sergey Karnaukhov called upon Russia to reject savage capitalism and usher in a North Korean-style asceticism, for the sake of the state. He scolded wealthy Russians for becoming accustomed to living in the lap of luxury and added: Turns out, there are different values and a different lifestyle. North Korea preserved them and even increased them. It means we can rely on them! We can go there, look at their life, and see that what weve considered to be valuable in our country isnt valuable at all.

Karnaukhov added: North Korea is offering its system of values! Weve been chuckling at Juche [North Koreas state ideology], but turns out it isnt funny. Turns out we should laugh at ourselves! Weve dissolved our identity in hedonism and leisure. Russia no longer exists! Thats what we have achieved. But now is our chance and all will be well.

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Even as Russias tightly controlled state media has been perpetuating the myth of an unscathed, booming economy, the cracks are showing. Prominent propagandists now regularly acknowledge that things are difficult and prices are on the rise. Videos of everyday Russians periodically posted on social media recognize that price increases and high-interest rates leave them unable to afford much more than the bare necessities.

In one of the street interviews posted on Telegram by a popular user @slvn_pomet, an unidentified womanadvised all poor Russiansto simply eat less and then everything will be alright.

However, at least one leading propagandist saw the problem with this thinking. On September 18, Sergey Mardan, the host of Mardan on the Solovyov Live channel, attempted to raise the alarm over a potential repeat of what happened in the Soviet Union.

The host asserted that Russia can be destroyed by its internal problems: What can fuel this discontent? Economic problems, poverty, hunger, currency depreciation, inflation. Mardan recalled the 1980s when the Soviet people suffered chronic food shortages. He added: The problems with food existed all the way until the dissolution of the Soviet Union. They varied from region to region, but always existed.

He concluded that this failure to meet even the most basic needs created a widespread feeling of discomfort and said: I think this contributed to the end of the Soviet Union more than the CIA, Mossad, BND, MI6, and the rest of the global intelligence services put together.

And yet the Kremlin is unable to contain the worsening situation and is tightening its grip, determined to contain the blowback.

The medias celebration of North Korea paints a grotesque portrait of the future that might lie ahead for the average citizen. Of course, this dreary vision would certainly exclude Putin and his clique of oligarchs and cronies, including the propagandists. For the common people, the future looks rather less cheery.

Julia Davis is a columnist for The Daily Beast and the creator of the Russian Media Monitor. She is a member of the Academy of Television Arts and Sciences, the Screen Actors Guild, and Women In Film.

Europes Edgeis CEPAs online journal covering critical topics on the foreign policy docket across Europe and North America. All opinions are those of the author and do not necessarily represent the position or viewsof the institutions they representor the Center for European Policy Analysis.

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Russia Lauds North Korea's 'Square-Headed Dude' and His Pauper ... - Center for European Policy Analysis

Are you ready to play a game? Brace yourself for the tenth installment of the Saw franchise, aptly titled Saw X, where the notorious serial killer Jigsaw reemerges with a vengeance. Acting as a direct sequel to the original Saw and a prelude to Saw II, this latest installment delves into the life of John Kramer (played by Tobin Bell), a.k.a. Jigsaw, as he discovers a newfound, dangerous purpose nearing what seems to be the end of his life.

Kramer embarks on a journey to Mexico, desperately seeking a miraculous cure for his affliction. However, as he uncovers a medical operation that preys on the vulnerable, he reconnects with his dark inclinations, devising a series of deadly "games" to punish the con artists behind the scam. In addition to Bell, Saw X stars Shawnee Smith, Synnve Macody Lund, Steven Brand, Michael Beach, and Renata Vaca.

As one of the most anticipated horror movies to catch this September, get ready for a nail-biting, blood-curdling cinematic experience. Saw X is bound to take audiences on a chilling ride through the twisted mind of Jigsaw. Here's where you can catch Saw X.

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'Saw X': Release Date, Cast, Trailer, and Everything We Know So Far

Saw X is set to make its theatrical debut on September 29, 2023, just in time for spooky season. The film will be opening against the animated sequel PAW Patrol: The Mighty Movie and Gareth Edwards' sci-fi epic The Creator.

Absolutely! Catch Saw X directly on the silver screen exclusively in theaters.

Click the links below to check the showtimes for Saw X at a theater near you:

While there have been rumors suggesting that Saw X might be accessible for streaming in March 2024, Lionsgate has not officially confirmed this. However, Lionsgate has entered into a multiyear partnership with Peacock, which will see all of its full-length film releases being made available for streaming on the NBCUniversal platform from 2024 onwards. Based on this deal alone, audiences can expect to stream Saw X on Peacock (until further updates). Additionally, this lineup will feature other notable titles like Borderlands and The Hunger Games: The Ballad of Songbirds and Snakes.

In the meantime, audiences can catch the original Saw movie on streaming platforms like Prime Video, Peacock, and Starz. Since the first Saw movie acts as the prequel to Saw X, audiences can take a trip down memory lane to revisit the sadistic brutality of Jigsaw's tormenting contraptions.

Although official confirmation is pending, there's buzz suggesting that the DVD and Blu-ray release for Saw X is anticipated around December 2023 - approximately 3 months after the films theatrical release date.

The trailer for Saw X was released by Lionsgate on July 30, 2023. Check out the official Lionsgate synopsis for Saw X:

John Kramer (Tobin Bell) is back. The most disturbing installment of the SAW franchise yet explores the untold chapter of Jigsaws most personal game. Set between the events of SAW I and II, a sick and desperate John travels to Mexico for a risky and experimental medical procedure in hopes of a miracle cure for his cancer only to discover the entire operation is a scam to defraud the most vulnerable. Armed with a newfound purpose, the infamous serial killer returns to his work, turning the tables on the con artists in his signature visceral way through devious, deranged, and ingenious traps.

The Saw movie franchise revolves around Jigsaw, a terminally ill mastermind who tests the moral and physical limits of individuals he considers morally corrupt or wasteful of their lives. He places them in life-or-death situations, forcing them to face gruesome challenges and make excruciating choices to survive.

In addition to the franchise's mind-bending storyline and complex characters, what sets the Saw movies apart from other horror flicks are its elaborate torture devices, sadistically portrayed as "games". One of the franchise's more notable "games" is the Reverse Bear Trap, a large, mechanical device placed on the victim's head, designed to rip their jaws apart if they don't fulfill a task. Another one is the Razor Wire Maze, in which victims are placed in a maze of razor wire and must find their way out within a time limit, often resulting in bloody injuries.

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Saw X Gets Jigsaw-Themed Limited Edition Popcorn Buckets From Cinemark

Hostel (2005): directed by Eli Roth, the Hostel franchise became a significant part of the "torture porn" subgenre, known for its extreme violence and sadistic themes. The movie follows the story of two debaucherous American backpackers traveling through Europe who fall victim to a horrifying underground organization. The film explores themes of human depravity, the dark side of tourism, and the consequences of unchecked hedonism. Hostel gained notoriety for its graphic and explicit content, sparking debates about the limits of on-screen violence and its impact on audiences.

Rent on Prime Video

Escape Room (2019): a popcorn, YA borderline family-friendly Saw directed by Adam Robitel, the film follows a group of strangers who are invited to an immersive and mysterious escape room experience, promising a substantial cash prize to the winner. As the participants delve into the puzzles and challenges, they soon realize that the stakes are much higher than anticipated, and the escape room is a deadly game where they must use their wits and teamwork to survive.

Watch on Hulu

Hard Candy (2005): directed by David Slade and written by Brian Nelson, the story revolves around a 14-year-old girl named Hayley Stark, played by Elliot Page, who meets a 32-year-old photographer named Jeff Kohlver, played by Patrick Wilson, on the internet. The two agree to meet in person, and Hayley soon finds herself in a dangerous game of cat and mouse, revealing disturbing secrets about Jeff and seeking her own form of justice. The true horror in Hard Candy comes from the psychological warfare and the unsettling power play between the characters, rather than traditional physical torture scenes.

Watch on Paramount+

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Where to Watch and Stream 'Saw X': Showtimes - Collider