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On Trend: The Changing State of Coming Out in Hollywood

If there’s anything to deride about Jodie Foster’s show-stopping moment, it’s that it felt dated, dusty, even quaint.

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On Trend: The Changing State of Coming Out in Hollywood

She certainly came prepared. The E! correspondents may have told you that Jodie Foster wore Giorgio Armani to the Golden Globes, but her frock was more like a suit of armor, its metallic straps criss-crossing her chest as if she were bracing for impact. Amid an awards show that’s often little more than a boring, booze-soaked, wannabe Oscars, Foster—who, at 50, proved a drastically young choice for the HFPA’s career-defining Cecil B. Demille Award—provided a riveting slice of LGBT history, using the acceptance of her honorary trophy as an opportunity to deliver a coming-out speech…sorta. Everyone knows the story by now: How Foster jokingly announced that she’s “single” after a virtual drum roll of anticipation, how she thanked her longtime partner and two strapping sons, and how she professed the value of personal privacy, declaring that she’s no reality star, like “Honey Boo Boo Child.” Gawker had a particularly douchey field day with the latter portion of Foster’s monologue, viciously berating the actress for demanding privacy as a public figure in a very public forum. The contradiction at which Gawker took aim is glaringly apparent, but while celebrities may sacrifice certain libel rights and anonymous trips to the grocery store, they are not, in fact, required to divulge personal details to the masses. If there’s anything to deride about Foster’s show-stopping moment, it’s that it felt dated, dusty, even quaint.

Like most viewers, I was glued to my TV as Foster half-spilled her guts at the podium, her words flying out in a candid rush likely helped along by cocktails, but her building-up of the pseudo-confession (which was, admittedly, quite admirable and heartfelt) announced her age more loudly than any lifetime achievement prize could. From wardrobe to word choices, the two-time Oscar winner approached the moment with an all-encompassing wince, even mentioning her publicist’s supposed terror in the process. Already a mature, soon-to-be mom back in 1997, when Ellen Degeneres delivered the “Yep” heard ’round the world, Foster hails from a generation still hung up on the notion of public gayness as career suicide. Moreover, she’s a star whose sexuality has been in question for what feels like ages, so her elaborate confirmation, however tasteful and compelling, seemed like old news in more ways than one. In her way, Foster mocked what she essentially referred to as the new trend of gay stars being compelled to come out, using that contentious issue of privacy as a defense against her delay in jumping on the bandwagon. What Foster failed to acknowledge is that today’s celebrity outings aren’t so much trendy as they are, to pull a Foster and invoke a pop culture reference, the new normal. The growing banality of stars making their gayness known has been one of the stealth triumphs of the Obama era, and at the risk of suggesting agreement with Gawker’s divulge-all viewpoint, if Foster indeed feels there’s a cultural urge for gay celebs to come clean, that alone is something to be celebrated.

Naturally, there’s also the argument that Foster’s long-postponed address of the issue is disrespectful to the gay community, implying she’s not only out of touch, but insensitive to the notion that an earlier admission, in tougher times, might have helped a lot more people (it also doesn’t help that, as some outlets have criticized, her acknowledgment was paired with a suggestion of retirement, which worsens the sting of her wait and surely cripples her value as a public voice for LGBT rights). In regard to gay media figures, all visibility is positive, but I’m not so sure the earth is spinning any better now that Jodie Foster’s lesbianism is verified. I did, for a while, take issue with the tight lips of Anderson Cooper, a man of stature and public importance well beyond the realm of entertainment, and whose open joining and championing of what’s becoming a new movement of civil rights could change minds and influence real-world coverage of LGBT matters. With a lifestyle well known for some time throughout New York and within his profession, Cooper—who, as an international correspondent roaming certain areas that realistically kill gays on sight, had more justifiable reticence than any other recently outed celeb—didn’t surprise anyone when he finally stated the obvious, and it was a satisfying moment indeed. It was a bit of a letdown that the news came via Andrew Sullivan’s The Dish, a blog under the umbrella of odious Tina Brown’s The Daily Beast. But, as Sullivan stated in the July 2012 article, which included the text of a personal email from Cooper outlining all the details, the two men are old, trusted friends, and the fact that the story broke via a modest, copy-and-paste blog post directly reflects the gulf between Foster’s spectacle and the actual spread of equality.

It also speaks to the myriad ways gay stars can easily, and often subtly, answer the big question today. Foster may not have received the memo that televised declarations and People cover stories have been shuffled aside as the norm (give or take a Ricky Martin article), but many younger stars who’ve come of age amid the shifting tides have, including 39-year-old Jim Parsons, who revealed his relationship to The New York Times in a May article discussing his work in The Normal Heart; 19-year-old Ezra Miller, who casually identified as queer in an August interview with OUT; and 34-year-old traffic-stopper Matt Bomer, who, in what may be the finest confirmation of celebrity gayness to date, simply thanked his longtime partner in a speech while accepting a Steve Chase Humanitarian Award (the honor was for Bomer’s efforts in fighting HIV/AIDS). These unforced, ain’t-no-thang methods of disclosure represent progress that Foster’s headline-maker managed to both support and contradict. Bomer’s case, specifically, is draped in hope, as the heartthrob has long been stated as choice No. 1 for the very promiscuous—and very straight—Christian Grey in the forthcoming film version of E.L. James’s 50 Shades trilogy. And it’s not just industry types who are doing the cheerleading, it’s the books own rabid, female fans. After all, what could be sexier that the ultimate unattainable male? The point is, we seem to have at last reached a time when going public as a gay celebrity doesn’t equal career death, but a career surge. May be a good idea to rethink that retirement, Jodie.

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Review: Billie Eilish’s “My Future” Is an Unexpectedly Upbeat Tribute to Isolation

The singer’s new single is a deceptively hopeful tribute to personal independence.

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Billie Eilish, My Future

The world could use a pick-me-up right about now, but those hoping that pop singer Billie Eilish would follow up her multi-Grammy-winning debut with a “Bad Guy”-style banger will likely be disappointed by her new single, “My Future.” The track, produced by brother Finneas, is the 18-year-old’s first new release since February’s “No Time to Die,” the theme from the James Bond film of the same name, which was pushed to the end of the year due to the Covid-19 pandemic.

Like that song, “My Future” starts off as a dreary but gorgeous dirge, with Eilish’s soulful, layered vocals stacked on top of atmospheric keyboards. Halfway through, though, the track pivots to a spry midtempo shuffle, transforming into a deceptively hopeful tribute to personal independence: “I’m in love with my future/Can’t wait to meet her.” During a period in history when time itself seems to have come to a halt, and the future is uncertain, the song’s lyrics smack of irony: “I know supposedly I’m lonely now/Know I’m supposed to be unhappy without someone/But aren’t I someone?”

Eilish gets even more animated in the music video for “My Future.” The clip, directed by Australian artist Andrew Onorato, is bathed in cool blue tones before a rainstorm gives way to a more colorful palette, matching the song’s shift in mood and tempo. In her isolation, Eilish appears to find solace, communing with and eventually becoming one with nature.

Watch below:

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Taylor Swift Drops Surprise Album Folklore and Self-Directed “Cardigan” Video

The special effects-heavy clip finds the singer climbing inside a dusty upright piano and into a moss-covered fantasy world.

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Taylor Swift, Cardigan
Photo: YouTube

Less than a year after the release of her seventh album, Lover, Taylor Swift has dropped the follow-up, Folklore, along with a music video for the track “Cardigan.” The singer announced the surprise release on social media early on Thursday, accompanied by a series of grayscale photos of the erstwhile country star in the woods that—though reminiscent of an A24 horror film or a metal album cover—reflects a return to a more stripped-down sound.

Reportedly shot according to CDC-recommended Covid-19 safety guidelines and overseen by a medical expert, the video for “Cardigan” was directed by Swift, who also reportedly did her own hair, makeup, and styling. The special effects-heavy clip finds the singer climbing inside a dusty upright piano and into a moss-covered fantasy world, tinkling the ivories of an overflowing grand piano at the edge of a CGI waterfall. Later, she clings to the instrument on a stormy sea before traveling back to reality.

Co-written and produced by the National’s Aaron Dessner, “Cardigan” is an unassuming piano ballad notable for its pointillistic percussion and Swift’s understated vocal performance. As for the titular sweater, it apparently serves as a metaphor for an artist whose love life bears the marks of more than a little wear and tear: “When I felt like I was an old cardigan under someone’s bed/You put me on and said I was your favorite.”

Watch the video below:

Folklore was written and recorded remotely with Dessner and features collaborations with Bon Iver, Jack Antonoff, and a mysterious songwriter billed as William Bowery (after all, it wouldn’t be a Taylor Swift album without a little sleuth-baiting).

Folklore is out now on Republic Records.

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Jonathan Glazer Debuts Strasbourg 1518, a Collaboration in Isolation

The short was inspired by a powerful involuntary mania that took hold of the citizens of Strasbourg just over 500 years ago.

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Strasbourg 1518
Photo: Academy Films/BBC

We’re likely a few years away from catching glimpse of Jonathan Glazer’s long-awaited follow-up to Under the Skin, a Holocaust drama being produced by A24. Until then, fans of the filmmaker will have to be content with his latest short, Strasbourg 1518, a “collaboration in isolation” according to A24 that was inspired by a powerful involuntary mania that gripped citizens of Strasbourg just over 500 years ago.

According to a Guardian article from 2018, a bizarre dancing epidemic took hold of several hundred people in Strasbourg “over the course of three roasting-hot months in 1518,” leading to several dozen deaths. A condition characterized by intense inflammation of the skin, St. Anthony’s Fire, or ergotism, results from long-term ergot poisoning, but in his 2009 book A Time to Dance, a Time to Die, historian John Waller identifies material, cultural, and spiritual causes, such as bad harvests and the arrival of syphilis, for this and other such incidents.

In the context of the Covid-19 pandemic, it’s easy to see how Glazer’s mind was drawn to these not-uncommon dancing raves. Collaborating with some of the greatest dancers working today, Glazer sees in his subjects’ body-moving a profound feeling of protest, a lashing out against, yes, disease but also feelings of isolation. It’s a sensation perhaps best described by Waller himself about the 1518 dancing pandemic: “The minds of the choreomaniacs were drawn inwards, tossed about on the violent seas of their deepest fears.”

Strasbourg 1518 was co-commissioned by London-based arts organization Artangel and the Sadler’s Wells dance house and produced by Academy Films for BBC Films and BBC Arts. The film can be watched in the U.S. exclusively at us.strasbourg1518.film.

See below for the short’s trailer:

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Games

July 2020 Game Releases: Paper Mario: The Origami King, Ghost of Tsushima, & More

After a few exhausting months in the gaming world, July promises to be fun by comparison.

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Ghost of Tsushima
Photo: Sony Interactive Entertainment

After a few exhausting months in the gaming worlde—from delays to disappointments, and one particularly grueling release—July promises to be fun by comparison. Take, for instance, Iron Man VR, whose highest purpose seems to be just to allow players to exhilaratingly fly about, zapping enemies out of the sky. And while the ambitious Ghost of Tsushima may be modeled after a violent historic event—the first Mongol invasion of Japan—gameplay trailers have been sure to emphasize all of the peaceful, entertaining options provided for exploring the artistically rendered open-world island of Tsushima.

Even Deadly Premonition 2: A Blessing in Disguise, the unexpected sequel to a cult survival-horror game from 2010, looks to be cultivating a sense of humor between its moments of darkness. (Is this the first horror game to allow its protagonist to skateboard between destinations?) And, of course, there’s Paper Mario: The Origami King, whose colorfully absurd bosses, like Box of Crayons, suggest that the latest game in the series will be a pure delight.

To help you find the right fit for your current mood, see below for trailers for our most anticipated games of the month, followed by a list of other noteworthy releases across all platforms. (Sound off in the comments if you feel we’ve overlooked anything.)


Ghost of Tsushima (PS4) – July 17

The latest Ghost of Tsushima trailer opens with protagonist Jin Sakai learning that an honorable samurai always looks his enemy in the face, and almost ends with a shot of him skewering a guard through a screen door. We’re excited to explore the contrast between Jin’s two schools of training—the head-on, stance-driven swordsmanship of a Samurai and the stealthy assassination techniques of a Ghost—and to see how Jin’s toolset holds up across this open-world action-adventure game. The game also promises a phenomenally immersive—and historically accurate—depiction of the 1274 Mongol invasion of Japan, though we’re most looking forward to wallowing in all the visual flourishes that characterize the game outside of skirmishes. Just watching the way wind effects are used to whip Tsushima Island’s vibrant red, purple, white, and golden foliage through the air, it’s a credit to just how good this game looks that we’d even consider playing through in the black-and-white Samurai Cinema mode.


Iron Man VR (PSVR) – July 3

Some games sell themselves, and that’s certainly the case with Iron Man VR, whose trailers largely stick to one simple promise: that glory comes to those who fly like Iron Man. Okay, maybe two simple promises, because in addition to the latest demo showcasing the way you can skim along the surface of the ocean and swoop through a cloudy sky, it also lets you fight like Iron Man. We’re already impressed by this demo’s aerial set piece, which has you freefalling from a plane and using your suit’s gadgets to execute emergency repairs. We’re dizzied, in the best possible way, by the potential of this VR experience.


Paper Mario: The Origami King (Switch) – July 17

We’ve never been so intimidated by origami as in the first shot of the Paper Mario: The Origami King trailer, which turns the usually charming Princess Peach into a creepily creased bit of papercraft. Lest you worry that this means the Paper Mario series is losing its trademark humor and charm, Peach immediately cuts the tension with a pun: “Your replies are all paper thin!” What “unfolds” in the trailer suggests that this could be the biggest Paper Mario yet, with Bowser appearing as a potential ally and sights of 3D deserts and oceans for Mario to traverse. At the very least, we’ll be checking this one out just to see how it pulls off epically comic boss battles against office supplies like Tape.


Deadly Premonition 2: A Blessing In Disguise (Switch) – July 10

The original Deadly Premonition was a mind-trippy survival-horror/detective game that played a bit like Twin Peaks meets Silent Hill, and by the look of things, the last decade hasn’t changed director SWERY’s sensibilities at all. Instead, it’s given him a larger sandbox of references to pull from, with the voodoo-tinged Louisiana setting and dual timelines suggesting that he’s a fan of True Detective as well. Of course, it’s hard to put SWERY in a box. After all, the stylish Bond-like trailer for this game is cryptically all over the place, with the image of a man plummeting through red mists, clarinets, and a twerking ass, giving way to a gleaming golden skull and flashes of everything from blood and snakes to hurricanes and what seem to be ninjas. With the game seemingly throwing so much at the wall—for instance, you can skateboard through town—we’re absolutely fascinated to see what sticks.

July 2020 Releases

SINoALICE (July 1) – iOS, Android – Pre-Order
Trackmania (July 1) – PC – Pre-Order
Infliction: Extended Cut (July 2) – Switch – Pre-Order
Marvel’s Iron Man VR (July 3) – PSVR – Pre-Order
Catherine: Full Body (July 7) – Switch – Pre-Order
CrossCode (July 9) – PS4, Xbox One, Switch – Pre-Order
Elden: Path of the Forgotten (July 9) – Switch, PC – Pre-Order
Deadly Premonition 2: A Blessing in Disguise (July 10) – Switch – Pre-Order
F1 2020 (July 10) – PS4, Xbox One, Stadia, PC – Pre-Order
NASCAR Heat 5 (July 10) – PS4, Xbox One, PC – Pre-Order
Death Stranding (July 10) – PC – Pre-Order
Rocket Arena (July 14) – PS4, Xbox One, PC – Pre-Order
Hunting Simulator 2 (July 16) – PC – Pre-Order
Radical Rabbit Stew (July 16) – PS4, Xbox One, Switch, PC – Pre-Order
Drake Hollow (July 17) – Xbox One, PC – Pre-Order
Ghost of Tsushima (July 17) – PS4 – Pre-Order
Paper Mario: The Origami King (July 17) – Switch – Pre-Order
Into the Radius (July 20) – Rift, Quest, Vive – Pre-Order
Rock of Ages 3: Make & Break (July 21) – PS4, Xbox One, Switch, Stadia, PC – Pre-Order
Destroy All Humans (July 28) – PS4, Xbox One, Stadia, PC – Pre-Order
Grounded (July 28) – Xbox One, PC – Pre-Order
Othercide (July 28) – PS4, Xbox One, PC – Pre-Order
Pistol Whip (July 28) – PlayStation VR – Pre-Order
Skater XL (July 28) – PS4, Xbox One, Switch, PC – Pre-Order
Monster Crown (July 31) – PC – Pre-Order

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Music

Review: Lady Gaga and Ariana Grande Drop “Rain on Me” Single and Video

The house-inflected dance-pop tune finds the two overzealous vocalists duking it out to see who can outsing the other.

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Lady Gaga and Ariana Grande, Rain on Me
Photo: YouTube

Lady Gaga and Ariana Grande’s “Rain on Me” is arguably the most anticipated pop partnership since, well, Grande’s duet with Justin Bieber, “Stuck with U,” dropped last week. The second single from Lady Gaga’s forthcoming album, Chromatica, “Rain on Me” is a slick, French house-indebted dance song that finds the two overzealous vocalists duking it out to see who can out-sing the other over the course of the track’s three chart-maximizing minutes.

Despite a sizeable promo push, Chromatica’s lead single, “Stupid Love,” received a relatively lukewarm response from both fans and the general public, but Grande’s presence on “Rain on Me” is sure to have an amplifying effect. The song is reportedly about the singers’ shared public trauma, and while it’s unclear which of Gaga’s myriad traumas the track references, it ostensibly addresses the PTSD Grande is said to have suffered following the terror attack at her Manchester concert in 2017.

Gaga has called “Rain on Me” a “celebration of all the tears,” and claims in a new Apple Music interview that rain doubles as a metaphor for all the alcohol she’s consumed to numb her pain. “I’d rather be dry, but at least I’m alive,” she sings throughout the song. Water, of course, is considered a source of purification and rebirth, but the metaphor is muddled here: “It’s coming down on me, water like misery.”

Created by a virtual army of seven songwriters and four producers, “Rain on Me” builds slowly from a stripped-down opening verse, followed by filter house bass and thundering percussion, while the hook—which, like the rest of the track, seems to be aiming for mid-‘90s house-pop—is composed almost entirely of a pitched-down vocal loop. It’s an improvement over “Stupid Love,” at least until a spoken bridge in which Gaga adopts a robotic affect a la 2013’s “Venus”: “Hands up to the sky/I’ll be your galaxy/I’m about to fly/Rain on me, tsunami.” As for that vocal battle, Gaga’s foghorn largely overpowers Grande’s signature warble, but they sound dissimilar enough that you can at least distinguish between the two.

Helmed by filmmaker Robert Rodriguez, who directed Gaga in 2013’s Machete Kills, the music video for “Rain on Me” finds the two pop stars serving as mirror reflections of each other in a rain-soaked urban landscape, with Gaga even donning Grande’s signature high pony tail. The clip evokes an apocalyptic rave, with the singers and their armies of dancers sporting some very-‘90s club gear, like platform boots and lots of PVC, that complement the track’s vintage aesthetic.

Watch below:

Chromatica will be released on May 29 on Interscope Records.

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Music

Review: Katy Perry Bares All in “Daisies” Single and Music Video

The singles aims for euphoric, “Teenage Dream”-style heights but doesn’t quite reach them.

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Katy Perry, Daisies
Photo: Liza Voloshin

Following a series of standalone singles, including last year’s moderately successful “Never Really Over,” Katy Perry has finally dropped the lead single from her long-awaited fifth studio album, the follow-up to 2017’s Witness. Produced by the Monsters & Strangerz, “Daisies” is an atmospheric ballad that pairs acoustic guitars with textured synth programming and finds the pop singer reflecting on her rise to fame: “I guess you’re out of your mind until it actually happens.”

The track, which clocks in at under three minutes, aims for euphoric, “Teenage Dream”-style heights but doesn’t quite reach them, while its themes of self-empowerment and perseverance are juxtaposed by macabre undertones: “They tell me I’m crazy, but I’ll never let them change me/’Til they cover me in daisies.” Interestingly, “Daises” will be serviced to adult contemporary radio next week before going for mainstream pop adds in June, a sign that Perry—who, at 35, is pregnant with her first child—is shifting her focus to a more mature audience.

Directed by New York-based filmmaker Liza Voloshin, who previously worked with Perry on the vertical video for “Never Really Over,” the music video for “Daises” boasts a grainy, lo-fi aesthetic that matches the song’s dreamy vibe. The concept is simple—reportedly shot at a safe “social distance”—and features Perry frolicking in the woods before stripping off her white dress and bathing naked in a creek.

Watch below:

Perry’s as-yet-untitled fifth album is due August 14th on Capitol Records.

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Games

June 2020 Game Releases: The Last of Us Part II, Disintegration, & More

Right now, we’ll take whatever form of escapism we can get.

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The Last of Us
Photo: Sony Interactive Entertainment

The June gaming calendar remains on the light side, what with studios big and small still adjusting release windows in response to the shifting realities of COVID-19, which has, among other things, limited the physical production and shipment of games. If not for a particularly nasty plot leak, Naughty Dog’s The Last of Us Part II might still be in that distribution limbo, but we’ll take whatever form of escapism we can get.

Our most anticipated titles of the month skew toward the violent, perhaps none more so than the long-delayed The Last of Us Part II, which focuses on 19-year-old Ellie, after settling with Joe in a thriving community of survivors in Jackson County, Wyoming, relentlessly seeking justice in the wake of a catastrophic event. Also of note is the Wild West-set Desperados III, a real-time tactics game that promises to leave players jonseing for creative murders, and Disintegration, a sci-fi shooter set 150 years into the future, where, after so much global catastrophe, humans are on the brink of extinction, with their desperate efforts to integrate themselves into robot bodies having led to much chaos. But this month’s games offer more than just savage thrills. Evan’s Remains, for example, features no enemies or weapons, just a soothing pixel-art aesthetic and a series of logic-based platforming challenges.

To help you find the right fit for your current mood, see below for trailers for our most anticipated games of the month, followed by a list of other noteworthy releases across all platforms. (Sound off in the comments if you feel we’ve overlooked anything.)


The Last of Us Part II (PS4) – June 19

The latest trailer for The Last of Us Part II showcases not just a grown-up Ellie, but a hardened one. No longer the young girl in need of Joel’s protection, she’s now taking hostages, chopping and stabbing human soldiers, and sobbing, bloody-faced and alone, in the darkness. The trailer ends with the 19-year-old bathed in red light, responding to a plea—“We could have killed you”—with a remorseless “Maybe you should have.” We’re beyond amped to see if the trailer’s subtle shifts between showcasing a survivor’s natural coping mechanisms and a monster’s mercilessness carry through into the game itself.


Disintegration (XB1, PS4, PC) – June 16

Between the infantry and mechs bum-rushing an abandoned farmstead and a robotic-looking protagonist who drily encourages his troops by suggesting that they “Don’t die,” it’s easy to see the traces of Halo lingering under the hood of Disintegration. Hardly surprising, given the involvement of Halo’s co-creator, Marcus Lehto. Based on gameplay footage, the feature that excites us is the prospect of gunning down foes from the cockpit of the game’s signature Gravcycle, a hovering, multi-gunned war machine from which hero Romer Shoal can both attack and issue orders to his unique three-person squad. It looks ambitious and explosive, and we hope it won’t turn out to be as empty as Anthem.


Evan’s Remains (PC) – June 11

Fans of Lost, take note. Evan’s Remains packs flashbacks, compelling dialogue, and a massive twist into its brief demo, which only leaves us wanting more. The way the narrative incorporates symbology-based puzzles that must be actively deciphered by leaping between platforms further warmly reminds us of the gameplay loops in To The Moon and the Zero Escape series. In all honesty, though, the demo hooked us from the first shot of its charmingly pixelated, sun-hat-wearing heroine: Who wouldn’t want to help her solve a mystery?


Desperados III (PC, XB1, PS4) – June 16

Each new glimpse of Desperados III further strengthens the impression that when this western is in full swing, it potentially operates as a delightful Rube Goldberg machine, with each of your five gunslingers using their unique abilities in tandem to stealthily murder their foes. We’re particularly enthused about seeing Isabelle Moreau in action, as she can use her voodoo to control hapless foes, though we also got a kick out of watching Hector Mendoza splashily brawl his way through a saloon and then later use a beartrap to disable a unsuspecting enemy.

June 2020 Releases

Little Town Hero (June 2) – PS4, Switch – Pre-Order
Rock of Ages 3: Make & Break (June 2) – PS4, Xbox One, Switch, Stadia, PC – Pre-Order
Pro Cycling Manager 2020 (June 4) – PS4, Xbox One, PC – Pre-Order
Tour de France 2020 (June 4) – PS4, Xbox One, PC – Pre-Order
Clubhouse Games: 51 Worldwide Classics (June 5) – Switch – Pre-Order
Command & Conquer: Remastered Collection (June 5) – PC – Pre-Order
The Outer Worlds (June 5) – Switch – Pre-Order
The Dark Eye: Book of Heroes (June 9) – PC – Pre-Order
The Elder Scrolls Online: Greymoor (June 9) – PS4, Xbox One – Pre-Order
Ys: Memories of Celceta (June 9) – PS4 – Pre-Order
Evan’s Remains (June 11) – PS4, Xbox One, Switch, PC, Mac – Pre-Order
Warborn (June 12) – PS4, Xbox One, Switch, PC, Mac – Pre-Order
Desperados III (June 16) – PS4, Xbox One, PC – Pre-Order
Disintegration (June 16) – PS4, Xbox One, PC – Pre-Order
Burnout Paradise Remastered (June 19) – Switch – Pre-Order
The Last of Us Part II (June 19) – PS4 – Pre-Order
SpongeBob SquarePants: Battle for Bikini Bottom – Rehydrated (June 23) – PS4, Xbox One, Switch, PC – Pre-Order
Ninjala (June 24) – Switch – Pre-Order
Hunting Simulator 2 (June 25) – PS4, Xbox One, PC – Pre-Order
Mr. Driller Drill Land (June 25) – Switch, PC – Pre-Order
Phantom: Covert Ops (June 25) – Rift, Quest – Pre-Order
The Almost Gone (June 25) – Switch, PC, iOS, Android – Pre-Order
Fairy Tail (June 26) – PS4, Switch, PC – Pre-Order
The Legend of Heroes: Trails of Cold Steel III (June 30) – Switch – Pre-Order
Griftlands (TBA) – PC – Pre-Order

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Music

Jessie Ware Returns to the “Spotlight” with New Single and Album

The U.K. singer’s latest is a sultry, understated throwback to Giorgio Moroder and Pete Bellotte-style disco.

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Jessie Ware, Spotlight
Photo: Carlijn Jacobs/Interscope Records

Jessie Ware has dropped the lead single from her upcoming fourth album, What’s Your Pleasure? Co-written by the U.K. singer-songwriter and Danny Parker, Shungudzo Kuyimba, and James Ford (who also produced the single), “Spotlight” is a sultry, understated throwback to Giorgio Moroder and Pete Bellotte-style disco. Ware’s carefree vocals float atop a lush arrangement of swirling strings, guitars, and wobbly bass.

According to a press release, the album is a “thank you” to Ware’s long-term fans. The singer describes “Spotlight” as a “first taste,” but she’s has been teasing a more club-oriented effort since 2018’s “Overtime,” a blissed-out slice of classic house reminiscent of her early collaborative singles. The final tracklist for What’s Your Pleasure? has yet to be revealed, but fingers crossed that last year’s nearly five-minute disco daydream “Mirage (Don’t Stop)” makes the cut.

“I feel like these last few years I’ve had to do some exploration to figure out what I wanted to write about musically again and learn new things about myself. I’ve been yearning for that escapism, groove and maybe it’s time to say goodbye to the melancholy Jessie,” Ware says.

Directed by Jovan Todorovic, the mesmerizing video for “Spotlight” was shot in Belgrade aboard former Yugoslavian dictator Josep Broz’s infamous Blue Train. The celebratory clip captures a kaleidoscope of emotions as Ware walks, struts, floats, and dances among the train’s passengers.

Watch below:

What’s Your Pleasure? is scheduled for a June 5 release on PMR/Friends Keep Secrets/Interscope Records.

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Review: Lady Gaga’s “Stupid Love” Single and Video Fail to Spark Joy

The singer’s latest is a catchy but uninventive slice of electro-pop.

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Lady Gaga, Stupid Love
Photo: YouTube

After Lady Gaga’s new single, “Stupid Love,” unexpectedly leaked online last month, many of the singer’s not-so-little-anymore monsters were quick to take to Twitter and dismiss the rather unremarkable dance-pop tune as a demo or outtake from a previous era. It seems that was wishful thinking. Officially released today, the lead single from the pop singer’s first studio album of original material in four years, is a catchy but uninventive slice of electro-pop driven by a synth bassline reminiscent of the singer’s since-deleted rape fantasy with R. Kelly, “Do What U Want.”

“Freak out, freak out, freak out, freak out, look at me now,” the Muppets Most Wanted actress croons atop a midtempo dance beat, courtesy of producers Bloodpop and Tchami. The track’s other elements—from Gaga’s faux-operatic vocals to the song’s diced-up hook—fail to spark much joy. If it had been released on the heels of 2013’s garish Artpop, “Stupid Love” might feel merely repetitive, but following a series of ostensibly more “mature” albums—the jazz collection Cheek to Cheek, the roots-inflected Joanne, and the soundtrack to A Star Is Born—it’s downright regressive.

The rumored title of Gaga’s sixth album, Chromatica, presumably refers to both the chromatic musical scale and the color wheel one learns about on the first day of art class, and the music video for “Stupid Love” likewise trades in simplistic themes and visuals. Shot on an iPhone by director Daniel Askill, the choreography-heavy clip stars Gaga—who dons various fuschia-colored costumes and plastic face jewels that are less Björk than Party City—as the hearing-impaired leader of a group of “Kindness punks” who implore various warring, color-coded tribes to choose love.

It’s about as corny as it sounds and lacks the (comparatively) sophisticated mythology or narrative of videos like 2011’s “Born This Way.” Even when Gaga’s early videos felt derivative or the concepts slipshod, there was at least a sense of an artist tapping into, and sometimes even defining, the zeitgeist. “Stupid Love” feels like the product of a full-grown performer trying to appeal to a fanbase she apparently believes is still composed of adolescent misfits.

Watch the video below:

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Billie Eilish Drops Lush James Bond Theme Song “No Time to Die”

The lush, darkly cinematic track feature an orchestral arrangement courtesy of Hans Zimmer and guitar from Johnny Marr.

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Billie Eilish, No Time to Die
Photo: Interscope Records

On the heels of her historic Grammy wins, singer-songwriter Billie Eilish has unveiled “No Time to Die,” the theme song from the upcoming James Bond film of the same name. The song was produced by her brother and frequent collaborator, Finneas, and veteran knob-twirler Stephen Lipson. The lush, darkly cinematic track falls in line with past 007 themes, with an orchestral arrangement courtesy of Hans Zimmer and Matt Dunkley, and featuring guitar from Johnny Marr of the Smiths.

The 18-year-old Eilish, the youngest person and first woman to win the four main Grammy categories in the same year, is now the youngest artist to both write and record a Bond theme. She will perform the song live for the first time at The Brit Awards on February 18.

No Time to Die hits U.S. theaters on April 10 through MGM/United Artists Releasing.

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