You schooled us pretty hard the last time there was a WGAw strike. You made a pretty convincing case for a Hollywood without writers, and while we'll never admit it to you as a group, you broke us. You really did. And it has ruined the industry that I love in a million small ways that you're not even going to notice for a decade or so, and when you do, it may well be too late. You fought us over money and your right to more of it, and you hurt us enough to make us take a deal that we knew in our hearts was not right.
If you try to do the same thing to the VFX industry, you are going to lose.
I'm not telling you this because I want you to win. I just don't think you realize that this is not the same situation as when the writers decided to strike. You are correct. You can indeed lowball us and force us to do free rewrite after free rewrite and you can screw us on points and offer us insulting archaic math problems instead of real profit participation and we'll smile and ask for more. But if you start putting FX houses out of business and trying to lowball that side of the business, you may be crippling yourself.
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The National will be releasing a new album, the follow-up to "High Violet," this spring. The Brooklyn rock band is hitting the road for an extensive tour in June, piggy-backing off their high-profile gig at the Barclay's Center in their homebase, but you can bet there will be some warm-ups (like the one at Ithaca's State Theater) where the band will be previewing new material.
4AD is yet again behind the release of the as-yet-untitled set, which I suppose may be in the running for the band's biggest-selling or highest charting album. 2010's "High Violet" was not only a critical favorite, but also landed the group at No. 3 on The Billboard 200, their best yet. Depending on the date they choose in May, they could contend for the top spot. So I'd recommend shooting for some other week after May 7, which is the date other indie favorites like She & Him and label-group-mates Vampire Weekend are dropping their latest, as is Fall Out Boy (hrm.), Lady Antebellum and Natalie Maines.
What can one really say at the end of a season this contentious, this exciting, this tight every step of the way other than: "Gee, that was fun."
Because he seemingly can’t help himself, Kanye West opened mouth and inserted foot again on Feb. 23 for the 13,578th time.
[More after the jump...]
I'm back from Disney World, and the Firewall & Iceberg Podcast is back with me (and Dan, who did not go to Disney World last week). Lots to discuss (and that's even though neither of us had time to watch HBO's "Parade's End"), including last night's Oscars, CBS' "Golden Boy," ABC's "Red Widow," History's "Vikings," the "Downton Abbey" finale and more. The lineup:
And as always, feel free to e-mail us questions for the podcast.
There is a tremendous amount of debate today about whether Seth McFarlane did a good or bad job in his inaugural turn as Oscar host Sunday night, but no one is arguing over Andy Samberg's hosting performance Saturday afternoon. Samberg was fantastic as this year's Independent Spirit Awards host, but you probably didn't catch his work since IFC broadcast it at 10 PM on Saturday night.
And as always, feel free to e-mail us questions for the podcast.
"Arrested Development" creator Mitch Hurwitz has made no secret of his desire to use the new Netflix season of his uncanceled comedy to drum up interest (and money) in making the long-discussed "Arrested" movie. So the idea that these might be the only new episodes ever isn't in and of itself a surprise.
What is a surprise is that the CEO of Netflix very bluntly told investors he didn't expect to make more than the episodes that will premiere in May.
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
Hours before last night's Academy Awards ceremony, I was called up by a UK news network that required a last-minute talking head to discuss the evening ahead. In the cab on the way to the studio, the channel's researcher briefed me on the ground we'd cover, before asking, "So what's the big story of the night going to be?"
I reeled off something about "Argo" being the probable Best Picture winner, with a side order of The Vindication of Ben Affleck, but inside I was slightly thrown by the question. What was the big story going to be at the end of a long, circuitous race in which no one film has had everything its own way -- but one which looked ready to test any number of rare precedents, and perhaps create one or two of its own?
Yeah Yeah Yeahs have lifted the curtain on their very dramatic first single from their new album. "Sacrilege," from "Mosquito," is a dark, saucy rocker with a choir and a show-stopping a capella ending. It's the one for the festivals and arenas, which also makes me hesitant to assume the rest of the effort, due April 16, is anything like it, considering all the psychedelia of that album cover, the mysterium of the album teaser trailer and the YYY's long, happy history of curve ball album cuts.
That drum sound -- the cymbals in particular -- is so delicious and crunchy and in-room. I want that to be applied to Karen O's nuanced, door-busting vocals, and instead it seems to be needlesly buried under a pile-on of effects for the sake of drama. This has a gospel choir, for crying out loud, it needn't push the winning "Watchtower"/"Gimme Shelter" formula into an acid bath, but I see what you did there with all God's angels singing about sacrilege. I feel like I just walked out of the post-Apocalypse.
Dave Sitek produced the whole set, so make sure your speakers are cranked to sample.
Trent Reznor has always maintained that Nine Inch Nails was never over, just that he had some other interests. Now, we'll hear what the frontman has in mind for his long-lasting industrial/rock project, as they hit the road this summer in a new configuration.
"Nine Inch Nails are touring this year," reads a statement from Reznor, unleashed this morning. His other band How to destroy angels_ with wife Mariqueen Maandig and collaborator Atticus Ross is still going forward with their "Welcome Oblivion" album release next week and spring tour dates, but Reznor will shape-shift for NIN this summer on the road.
The new lineup boasts of Reznor and NIN alumni Alessandro Cortini and Ilan Rubin, plus Eric Avery (Jane's Addiction), Adrian Belew (King Crimson) and Josh Eustois (Telefon Tel Aviv). The addition I'm most curious about is Belew, who at 63 has proven himself over and over again as a frontman, as a flavorful guest guitarist on Nine Inch Nails' records and an able-bodied multi-instrumentalist. On the road he may (or hopefully) will support the band with more than some choice licks.
According to the release, NIN will be playing in arenas, purportedly after HTDA_ is all finished promoting the full-length. No word on an album release.
Here is the full statement from Reznor via Pitchfork: