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Notes on the RNC #2: When You Walk Through A Storm



Notes on the RNC #2: When You Walk Through A Storm

If an opening gavel falls in the forest and no one hears it, will it provide a post- convention bounce?

Hurricane Gustav cast a long shadow over today’s RNC activities. The current meteorological event could only serve to remind everyone of the Bush Administration’s culpability (along with local authorities) in the poor handling of Katrina three years ago. As a result, the events on the first day of the RNC were anything but typical. Since, modern day nominating conventions basically just rubber stamp decisions made weeks, if not months, before by the primary elections, they are mostly ceremonial pep rallies and infomercials. However, operating in a business as usual mode under these current circumstances would be unseemly.

For their part, Barack Obama (here in my state of Michigan) and Joe Biden also avoided being too overtly political while on the campaign trail. Thus, without standard political template, I found myself reacting to the day’s events in stream-of- consciousness mode. To wit:

The planned agenda to kick off the GOP convention was scrapped at the last minute and replaced with a makeshift hurricane telethon that ironically coincided with the annual Jerry Lewis Labor Day event for the Muscular Dystrophy Association. I don’t want to say it was surreal, but it certainly boggled the mind to consider the fact that Laura Bush and Cindy McCain were at the podium in St. Paul giving out web site addresses for hurricane relief efforts at almost the same moment as Jerry Lewis was in Vegas singing “Walk on through the wind, walk on through the rain.”

More irony. As I posted on my blog last week, Stuart Shepard, who does videos for James Dobson’s “Focus on Family,” prayed for rain to wash out the DNC in Denver; he now claims it was meant to be tongue-in-cheek. I don’t usually quote scripture, but in the wake of Gustav I couldn’t help but want to remind Shepard of Jesus’ warning that “Thou shalt not tempt the Lord thy God.” My mental microfiche cross-referenced the Shepard video with a classic Night Gallery episode, “The Caterpillar,” starring Lawrence Harvey. Harvey plays a lecherous character who signs a one-year contract to work on a plantation in Malaysia. The owners of the plantation are a man in his 60s and his beautiful young wife. Harvey falls in love with the wife and hires a local ne’er-do-well to leave an earwig on the plantation owner’s pillow in the hope that the parasite would enter the old man’s ear and burrow lethally into his brain. The scheme goes dreadfully wrong when the Harvey discovers, to his horror, that the earwig is mistakenly left on his pillow.

Not to be outdone in the invocation-of-God department, a YouTube clip of blowhard Michael Moore showed him on Keith Olbermann’s Countdown laughing at the GOP’s storm predicament while suggesting that this proved the Almighty was on the Democrats’ side. Of course, I said the same thing myself earlier. But Moore seemed a bit too glib about it. (I realize that the filmmaker doesn’t speak for the Left as much as he thinks, but please accept my apologies as I digress into a Michael Moore rant. It’s unfathomable to me that Moore gets more attention than a true artist of the documentary genre, Errol Morris. Both men use the format as an outlet for their beliefs, but a Morris film at least tries to give a fair hearing to the other side, thus adding weight to his own thesis. Moore is just a smoke-and-mirrors propagandist who strings together a series of cheap shots to make his case.)

Getting back to the day’s events, and hoping that this doesn’t sound callous: Was an entire day of Gustav coverage and the ongoing levee situation in New Orleans just a little (if you pardon the bad pun) over the top? It was almost as if once the RNC morphed into the above-mentioned charity event, the resources of the broadcast news industrial complex that had been put in place to cover it were re-purposed to cover Gustav. To paraphrase Charlie Foster Kane, “You supply the footage of soaking wet reporters, I’ll supply the disaster.” MSNBC even had an animated 3D hurricane symbol spin across the screen as they broke for commercials. (This is a rhetorical question and more of an observation than a condemnation, and I’m not trying to minimize the trauma for those involved, but: Don’t the major earthquakes that occur in Asia once or twice a year take countless more lives and cause much more property damage? Doesn’t that deserve comparable coverage?)

Returning to the speeches of Laura Bush and Cindy McCain: Ms. Bush is an old pro who handled her part quite well. Flashing marquees blinked the words “Country First…Politics Second.” A large screen behind her displayed an American flag waving in slow motion; because I didn’t realize that this was a projection and thought it was a real flag, the image was off-putting at first. Cindy McCain came on with little fanfare wearing a yellow outfit that (unintentionally, I think) resembled a raincoat. She did okay but didn’t read from the teleprompter as smoothly as Bush.

Scheduled speeches by President Bush and Vice President Cheney were canceled. The cynical side of me can only imagine that this is a political plus for the McCain Team. They can avoid linking McCain with the Bush Administration under the completely reasonable cover that Bush today needs to focus his attention elsewhere.(The president may speak on Tuesday. But that decision won’t be made until sometime today.)

The two other political events unfolded today that could have an adverse affect on the McCain/Palin ticket. First, according to an AP report, “Palin was for the infamous so-called Bridge to Nowhere before she was against it, a change of position that the GOP vice presidential running mate ignored when she bragged about telling Congress ’thanks but no thanks’ to the pork barrel project.”

Ouch. This can’t be helpful.

Second was the revelation that Palin’s 17-year old, unmarried daughter is pregnant with her fiancé’s child. In and of itself, this shouldn’t have any bearing on her qualifications to be Vice President. Obama, to his credit, has even downplayed this as an issue. However, while I can certainly sympathize with a family’s right to privacy, first impressions are lasting impressions (ask Dan Quayle). Fairly or not, Palin’s public persona (sorry for the clumsy alliteration) will start to jell very quickly. Viscerally, this isn’t putting your best foot forward.

As the night wound down, it appeared that the worst fears about Gustav were not going to come true. Citizens were successfully evacuated. The levees seemed to hold. And civil order remained under control. However, on the horizon I heard reports of more bad weather systems scheduled to hit the U.S. in the days ahead. Two of them are Hurricane Hannah and (are you kidding me?) Tropical Storm Ike, as in “I Like Ike.”

Sigh. Maybe Michael Moore was right.

Matt Maul is author of the blog Maul of America.



Watch the Trailer for Ava DuVernay’s Netflix Series When They See Us

Netflix will release the series on May 31.



When They See Us
Photo: Netflix

In 1989, the rape and near-murder of Trisha Meili in Central Park rocked the nation. A little over a year later, a jury convicted five juvenile males—four African-American and one Hispanic—to prison sentences ranging from five to 15 years. In the end, the defendants spent between six and 13 years behind bars. Flashforward to 2002, after four of the five defendants had left prison, and Matias Reyes, a convicted murder and serial rapist serving a lifetime prison term, came forward and confessed to raping Meili. DNA evidence confirmed his guilt, and proved what many already knew about the so-called “Central Park jogger case”: that the police investigation of Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana, and Korey Wise, conducted at the beginning of the Giuliani era in New York City, was motivated less by a thirst for justice than it was by racial animus.

Last year, Oscar-nominated Selma filmmaker Ava DuVernay announced that she would be making a series based on the infamous case, and since then hasn’t been shy, on Twitter and elsewhere, about saying that she will be putting Donald J. Trump in her crosshairs. Trump, way back in 1989, ran an ad in the Daily News advocating the return of the death penalty, and as recently as 2016, claimed that McCray, Richardson, Salaam, Santana, and Wise are guilty of the crime for which they were eventually exonerated—behavior consistent with a presidential campaign that, like the case against the Central Park Five, was a full-time racist dog whistle.

Today, Netflix dropped the trailer for When They See Us, which stars Michael K. Williams, Vera Farmiga, John Leguizamo, Felicity Huffman, Niecy Nash, Blair Underwood, Christopher Jackson, Joshua Jackson, Omar J. Dorsey, Adepero Oduye, Famke Janssen, Aurora Perrineau, William Sadler, Jharrel Jerome, Jovan Adepo, Aunjanue Ellis, Kylie Bunbury, Marsha Stephanie Blake, Storm Reid, Dascha Polanco, Chris Chalk, Freddy Miyares, Justin Cunningham, Ethan Herisse, Caleel Harris, Marquis Rodriguez, and Asante Blackk.

According to the official description of the series:

Based on a true story that gripped the country, When They See Us will chronicle the notorious case of five teenagers of color, labeled the Central Park Five, who were convicted of a rape they did not commit. The four part limited series will focus on the five teenagers from Harlem—Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise. Beginning in the spring of 1989, when the teenagers were first questioned about the incident, the series will span 25 years, highlighting their exoneration in 2002 and the settlement reached with the city of New York in 2014.

See the trailer below:

Netflix will release When They See Us on May 31.

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Cannes Lineup Includes New Films by Terrence Malick, Céline Sciamma, & More

Perhaps as notable as what made the cut is what didn’t make it onto the lineup.



Pain and Glory
Photo: Sony Pictures Classics

This morning, the lineup for the 72nd Cannes Film Festival was revealed, and just as notable as what made the cut is what didn’t. Most notably, Quentin Tarantino’s Once Upon a Time in America and James Gray’s Ad Astra were nowhere to be found. Gray, whose had four of his previous films appear in competition at the festival, is still working on Ad Astra, which seems destined at this point to make its premiere at a fall festival. As for Tarantino, who’s still editing this ninth feature ahead of its July 26 theatrical release, Cannes artistic director Thierry Fremaux told press this morning that there’s still a chance that Once Upon a Time in America could be added to the festival lineup in the upcoming weeks.

Terrence Malick will return to Cannes for the first time since winning the Palme d’Or for The Tree of Life with the historical drama and ostensibly mainstream-friendly A Hidden Life, previously known as Radegund. Ken Loach and the Dardennes, both double winners of the Palme d’Or, will also debut their latest works, Sorry We Missed You and Young Ahmed, respectively, in the competition program. As previously announced, Jim Jarmusch’s The Dead Don’t Die will kick off the festival on May 14, and Dexter Fletcher’s Rocketman will screen out of competition on May 16, two weeks before the film hits U.S. theaters. (The Director’s Fortnight and Critics Week selections will be announced at a later date.)

See below for a complete list of this year’s competition, Un Certain Regard, out of competition, and special and midnight screenings.

Pain and Glory, Pedro Almodóvar
The Traitor, Marco Bellocchio
Wild Goose Lake, Yinan Diao
Parasite, Bong Joon-ho
Young Ahmed, Jean-Pierre and Luc Dardenne
Oh Mercy! , Arnaud Desplechin
Atlantique, Mati Diop
Matthias and Maxime, Xavier Dolan
Little Joe, Jessica Hausner
Sorry We Missed You, Ken Loach
Les Misérables, Ladj Ly
A Hidden Life, Terrence Malick
Nighthawk, Kleber Mendonça Filho and Juliano Dornelles
The Whistlers, Corneliu Porumboiu
Frankie, Ira Sachs
The Dead Don’t Die, Jim Jarmusch
Portrait of a Lady on Fire, Céline Sciamma
It Must Be Heaven, Elia Suleiman
Sybil, Justine Triet

Out of Competition
Rocketman, Dexter Fletcher
The Best Years of Life, Claude Lelouch
Maradona, Asif Kapadia
La Belle Epoque, Nicolas Bedos
Too Old to Die Young, Nicolas Winding Refn

Special Screenings
Share, Pippa Bianco
Family Romance LLC, Werner Herzog
Tommaso, Abel Ferrara
To Be Alive and Know It, Alain Cavalier
For Sama, Waad Al Kateab and Edward Watts

Midnight Screenings
The Gangster, The Cop, The Devil, Lee Won-Tae

Un Certain Regard
Invisible Life, Karim Aïnouz
Beanpole, Kantemir Balagov
The Swallows of Kabul, Zabou Breitman and Eléa Gobé Mévellec
A Brother’s Love, Monia Chokri
The Climb, Michael Covino
Joan of Arc, Bruno Dumont
A Sun That Never Sets, Olivier Laxe
Chambre 212, Christophe Honoré
Port Authority, Danielle Lessovitz
Papicha, Mounia Meddour
Adam, Maryam Touzani
Zhuo Ren Mi Mi, Midi Z
Liberte, Albert Serra
Bull, Annie Silverstein
Summer of Changsha, Zu Feng
EVGE, Nariman Aliev

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Watch: Madonna Unveils Teaser Trailer for New Concept Album Madame X

The secretiveness surrounding the project isn’t surprising given that Madonna has been the victim of rampant leaks.



Photo: Instagram

Certain discrete corners of the internet lost their collective minds earlier this month when Madonna’s Instagram page, alternately littered with posts featuring the singer’s adopted twin daughters or snapshots of her recent photo and video shoots, was taken over by nine indivudal images comprising a large red “X.” The typically prolific celebrity ‘grammer remained relatively quiet over the next two weeks, intermittently posting images of the letter X in her stories, and slowly revealing the manifesto for Madame X, her first album in four years:

Madame X is a secret agent
Traveling around the world
Changing identities
Fighting for freedom
Bringing light to dark places
She is a cha cha instructor
A professor
A head of state
A housekeeper
An esquestiran
A prisoner
A student
A teacher
A nun
A cabaret singer
A saint
A prostitute

The album’s lead single, which could be out as soon as this week, is rumored to be a duet with Colombian reggaeton singer Maluma, but details are scarce. The secretiveness surrounding the project isn’t surprising given that Madonna has been the victim of rampant leaks since at least the turn of the century. The studio recordings for her last album, 2015’s Rebel Heart, leaked like a sieve, resulting in the arrest of an Israeli hacker.

This time out, the queen of pop has successfully kept things under wraps, but it seems that Madame X—a character perhaps inspired by the 1966 film of the same name starring Lana Turner—is ready for her close-up. Watch the teaser for the new album, directed by Steven Klein, below:

Madonna will reportedly perform new material from Madame X at the Eurovision Song Contest on May 14.

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Jon Favreau’s Live-Action Remake of The Lion King Gets Official Trailer

The trailer for the photorealistic remake of the 1994 film is hellbent on proving that you can indeed step in the same river twice.



The Lion King
Photo: Walt Disney Studios Motion Pictures

Roger Allers and Rob Minkoff’s The Lion King remains one of Disney’s biggest cash cows. (Adjusted for ticket price inflation, the film is the 19th highest domestic grosser of all time, behind only two other Disney productions, Snow White and the Seven Dwarfs and 101 Dalmatians, and just ahead of Fantasia.) Now Jon Favreau’s The Lion King is just around the riverbend, and the trailer for the photorealistic remake of the original 1994 film is hellbent on proving that you can indeed step in the same river twice. (See what I just did there?) While the look of the remake is miles away from that of the original, and you will never mistake Chiwetel Ejiofor’s voice for that of Jeremy Irons’s, the trailer certainly goes to great lengths to court the audience’s nostalgia for the original, with its tail-end more or less a steady procession of recreations of shots from the animated classic.

Favreau’s The Lion King stars Donald Glover as Simba, Seth Rogen as Pumbaa, Billy Eichner as Timon, Beyoncé Knowles-Carter as Nala, Ejiofor as Scar, Alfre Woodard as Sarabi, John Oliver as Zazu, and James Earl Jones, reprising his role as Mufasa.

See the first trailer for The Lion King below:

Disney will release The Lion King on July 19.

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Todd Phillips’s Joker, Starring Joaquin Phoenix as the Iconic Villain, Gets Teaser

There’s a little Charlie Chaplin in the Joker’s steps early on, before madness grips him in ways that would probably make Pennywise shudder.



Photo: Warner Bros.

Before today, a psychological thriller about the Joker directed by the man responsible for The Hangover series wasn’t exactly on our list of priorities. After all, we’ve been burnt way too many times by the Marvel and DC universes to summon much excitement even for a more character-driven, less action-packed affair fiercely devoted to charting the mental anguish of one of the comic book canon’s most iconic villains.

But our affection for Joaquin Phoenix, perhaps the greatest actor of his generation, knows no bounds. And based on the two and a half minutes we’ve just seen of Todd Phillip’s Joker from its first teaser, the film looks like it may be closer in spirit to Taxi Driver than to Zack Snyder’s smugly self-serious contributions to the superhero industrial complex.

At the very least, it looks to be a fine showcase for Phoenix’s blend of sadness, grace, fury, and, above all, precision. There’s a little Charlie Chaplin in the Joker’s step early on, before madness grips him in ways that would probably make Pennywise shudder.

Joker, the first film in a series of DC-based films separate from the DC Extended Universe, also stars Robert De Niro, Zazie Beetz, Brian Tyree Henry, Bill Camp, Frances Conroy, Brett Cullen, Glenn Fleshler, Douglas Hodge, Marc Maron, Josh Pais, and Shea Whigham.

See the first teaser trailer for Joker below:

Warner Bros. will release Joker on October 4.

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Listen: Ariana Grande Drops New Single “Monopoly” with Victoria Monét

Yes, human pop song conveyor belt Ariana Grande dropped another new track today.



Photo: YouTube

Human pop-song conveyor belt Ariana Grande dropped another new track today. Last week the singer hinted via Twitter that a release of “Monopoly,” a duet with frequent collaborator Victoria Monét, was imminent after the pair debuted the song live during a stop on Grande’s Sweetener World Tour. And here we are.

Clocking in at just over two-and-a-half minutes, the hip-hop-inflected “Monopoly” doesn’t leave much space for Grande to flex her much-ballyhooed vocal prowess, though she does manage to sneak in a few whistle notes at the end. The track has prompted as-yet-verified rumors that the pop star is bisexual: “I swerve both ways, dichotomy,” Monét says before both women put a fine point on it: “I like men and women.”

The lo-fi video is slightly more successful, with emojis popping up on the screen while Grande and Monét playfully celebrate on a roofop. At one point, Grande swipes left on “haters,” “negativity,” and “Trump.” (Grande recently started an initiative called #ThankUNextGen to register voters for next year’s presidential election.)

Watch below:

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Jim Jarmusch’s The Dead Don’t Die, with Adam Driver and Bill Murray, Gets Trailer

It will be exciting to see how Jarmusch takes his transcendence of genre conventions to its breaking point.



Dead Don't Die
Photo: Focus Features

Like most of you “ghouls” who’re reading this post, we can barely contain our excitement over Jim Jarmusch’s latest, The Dead Don’t Die, which tells the story of two cops (played by Adam Driver and Bill Murray) who must contend with a zombie outbreak affecting a small town’s citizens. Before today, not much more plot details were known, but now we have the first trailer to confirm that, well, matters of plot will probably be of secondary interest to Jarmusch than matters of tone. Jarmusch has always been known for his embrace of humor and transcendence of genre conventions, so it will be exciting to see how he takes these propensities to what we hope will be their hilarious breaking points.

The Dead Don’t Die, whose release date suggests that it will likely have its world premiere at Cannes (the festival will announce its lineup in two weeks), certainly looks to offer up the most deadpan take on a zombie invasion that the movies have ever seen. At least this much is certain as of now: that the film has amassed the “greatest zombie cast” to date with Driver, Murray, Tilda Swinton, Selena Gomez, Rosie Perez, Chloë Sevigny, Danny Glover, Austin Butler, Caleb Landry Jones, Tom Waits, RZA, Iggy Pop, and Carol Kane.

See the trailer below:

Focus Features will release The Dead Don’t Die on June 14.

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Agnès Varda, Legend of the French New Wave and Beyond, Dead at 90

Varda spent the better part of her life ruminating on the nature of time, the interior and exterior lives of women, and the socially marginalized.



Agnès Varda
Photo: Cohen Media Group

Celebrated filmmaker Agnès Varda, who spent the better part of her life ruminating on the nature of time, the interior and exterior lives of women, and the socially marginalized, died today at the age of 90. According to a statement from her family: “The director and artist Agnès Varda died at her home on the night of Thursday, March 29, of complications from cancer. She was surrounded by her family and friends.”

Varda’s first film, 1955’s La Pointe Courte, has been acknowledged by critics as a forerunner of the French New Wave. She followed that with a series of shorts and, then, in 1962 with Cléo from 5 to 7, the film that would cement her legend. The film, starring Corinne Marchand and scored by Michel Legrand (who died in January at age 86), follows a Parisian pop singer in real time as she awaits the results of a biopsy that will determine whether or not her cancerous stomach tumor is inoperable. According to our own Eric Henderson:

All throughout, Varda captures the fairy-tale essence of early-‘60s Paris with a vivacity and richness that rivals Godard’s Breathless. Unlike her New Wave compatriots, whose talents were reared in part at film schools, Varda was trained in the field of photography and consequently films the city with a completely unique vision. Her framing teems with life at every corner: kittens wrestling in Cléo’s apartment, a child playing a tiny piano in an alleyway, and quarrelling lovers in a café. She demonstrates an unerring eye for complex compositions that still manage to delineate between foreground and background planes. And in the bargain, every one of the film’s gorgeously designed set pieces enhance our understanding of the character and amplify Cléo’s understanding of herself.

Varda met her future husband, Jacques Demy, in 1958 while living in Paris. They remained together until his death in 1990. Curiously, given how prolific they were as artists, the couple rarely collaborated: Varda has an uncredited role in Demy’s iconic 1967 musical The Young Girls of Rochefort and served as an executive producer on his 1971 drama Lady Oscar, and Demy co-wrote her 1991 film Jacquot de Nantes. Maybe that was because they were both drawn to different aspects of life and people’s relationship to them.

Varda’s fiction films, among them Le Bonheur and Vagabond, garnered much renown, but she’s now primarily known for her documentaries. According to Slant’s Pat Brown, in his review of Varda’s last completed film, Varda by Agnès, from this year’s Berlinale:

At one time she was best known for the narrative features she made during the first four decades of her career, but many of those films had a tenuous relationship to fiction, featuring as they do non-professional actors, having filmed exclusively on location, and, in the case of 1962’s Cléo from 5 to 7, taking place in real time. At the turn of the millennium—when Varda was 72—she and feature fiction finally broke up for good, and since then she’s made three celebrated documentaries: The Gleaners and I, The Beaches of Agnès, and Faces Places.

Faces Places brought Varda considerable acclaim. Made in collaboration with the semi-anonymous French street artist known as JR, the film tells the story of two Frances, one contemporary and the other made of memories and friendships from Varda’s life. Faces Places, which earned Varda her one and only Academy Award nomination, is, according to our own Peter Golberg, “a many-sided and meditative work that’s at turns delightful, saddening, yet always deeply personal, filled with uniquely Vardian chance encounters with people and places from Varda’s past while also focused on JR’s ability to use his art to engage people.”

We had the incredible honor of interviewing Varda on two occasions, once timed to the U.S. theatrical release of Faces Places in 2017 and two years prior to that timed to the one-week runs that her 1988 documentary whatsit Jane B. par Agnes V. and 1993 drama Kung-Fu Master! received at Lincoln Plaza Cinema.

Varda spent her long life and career giving voice to the voiceless. Her wisdom and empathy knew no bounds, a raison d’etre that’s perhaps best understood in her own words:

We did look for optimism. We looked for energy, we looked for the energy of expressing that everybody could express his or herself. Because that’s important—that it doesn’t stay totally quiet. Every moment can be agreeable to people we meet. But there is no way to say that life is beautiful, let’s go on. But at the same time, I think you have to be fairly honest about not having a ridiculous hope, but let’s meet, let’s share, let’s use the empathy we have for people, let’s create moments in which people understand each other. I mean, that’s already a big deal, you know?

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Listen: Sky Ferreira Drops “Downhill Lullaby,” Her First New Song in Six Years

The singer’s new single moves her even further from her sparkly synth-pop origins.



Sky Ferreira
Photo: Capitol Records

Singer-actress Sky Ferreira breaks her musical silence today with “Downhill Lullaby,” her first new song in six years. The song is the first taste of Ferriera’s sophomore effort, Masochism, the follow-up to 2014’s crtically acclaimed Night Time, My Time. Produced by Ferriera, Dean Hurley, and Jorge Elbrecht, “Downhill Lullaby” moves the artist even further from her sparkly synth-pop origins (aside from the infectious “One,” her early work has been completely expunged from streaming and digital platforms).

The five-and-a-half minute “Downhill Lullaby” is a sweeping, string-laden dirge, with Ferriera’s self-deprecating lyrics snaking over and between the track’s winding bassline and meandering beat. With lyrics like “You ripped me open, then you kiss me,” the grungy song is a fitting introduction to the new album, but the singer’s uncharacteristically low vocal feels more like a parody of Lana Del Rey than a fresh direction for Ferreira.

Listen below:

Masochism is due out later this year on Capitol Records.

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Watch: Hold on to Your Obsessions with the Final Trailer for Season Two of Killing Eve

The new season may just give you nightmares, though none that Sean Delaney’s accent can’t soothe.



Killing Eve
Photo: BBC America

We’ve already seen the first two episodes of the new season of Killing Eve, and since the embargo on reviews has now lifted, we can tell you that the series embraces a formal adventurousness in its second season that blows the first season out of the water. Season two picks up at the exact moment that the first left off, with Eve Polastri (Sandra Oh) escaping in tense and almost balletic fashion from the bloody clutches of Villanelle (Jodie Comer)—or is it vice versa?—before the two are once again caught in a prolonged game of cat and mouse that plays out throughout much of Britain and, presumably, beyond.

Today, BBC America has released the final trailer for the new season. Titled “Obsession,” the clip begins with Villanelle, healing from her injuries sustained from being stabbed by Eve last season, sneaking out from a hospital. I won’t tell you where she ends up, only that it may just give you nightmares, though none that Sean Delaney’s accent can’t soothe.

See the trailer below:

Season two of Killing Eve premieres on April 7.

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