Each day this month (assuming I don’t get busy or bored!), I’ll reflect on a tiny sliver of pop culture that I enjoyed or appreciated this year — scenes, shots, gestures, verses, sights, sounds, moments. Today: two movies that ought to have been huge hits, but weren’t.
Some movies seem destined to falter at the box office — they’re bad, they’re lazy, they’re weird, they lack star power, they’re in another language. It’s often a shame to watch those movies’ inevitably meager box-office returns, but you saw the disappointment coming, so it’s easier to manage and rationalize.
But other movies seem tailor-made for runaway blockbuster success and yet struggle to find it. Often, you can blame the marketing, or the distribution, or an accident of fate. The best you can hope for is a fruitful run on home video and streaming.
Each day this month (assuming I don’t get busy or bored!), I’ll reflect on a tiny sliver of pop culture that I enjoyed or appreciated this year — scenes, shots, gestures, verses, sights, sounds, moments. Today: feeling some feelings with one of country’s brightest young stars.
If Christmas makes you cry, “Christmas Makes Me Cry” will make you cry. If Christmas doesn’t make you cry, “Christmas Makes Me Cry” will make you cry, because Christmas makes Kacey Musgraves cry, and when Kacey Musgraves cries, you feel it.
Kacey Musgraves wrote this song with Shane McAnally and Brandy Clark for A Very Kacey Christmas, which came out on Halloween this year. Christmas sets are a dime a dozen, but the whole set is lovely, and this song takes the cake.
That trio of songwriters is also responsible for this and this. They are good.
Devin and I reflected on a turbulent year for world affairs and a fruitful year for pop culture in the final M&M Report of 2016. Thanks to all who have listened this year. See you in 2017!
Frank Ocean’s Blond (0:00-9:40)
the Longform podcast (9:40-18:15)
O.J.: Made in America (33:40-42:20)
The Lobster (42:20-47:30)
Hell or High Water (47:30-54:50)
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I took valuable time out of my life to rank every song on the 2016 year-end Billboard Hot 100 in order of my preference. There is nothing definitive or objective on this list, and I often felt no need to explain my choices. Some things speak for themselves.
I hadn’t heard “Never Be Like You” by Flume feat. Kai, “Antidote” by Travis Scott, “Wicked” by Future and “Middle” by DJ Snake feat. Bipolar Sunshine enough to consider them for this list. I don’t feel too bad about it.
I disqualified the following songs because I associated them more with 2015: “Sorry” by Justin Bieber; “Hotline Bling” by Drake; “The Hills” by The Weeknd; “Jumpman” by Drake & Future; “679” by Fetty Wap feat. Remy Boyz; “Here” by Alessia Cara; “What Do You Mean?” by Justin Bieber; “Same Old Love” by Selena Gomez; “Can’t Feel My Face” by The Weeknd; “Wildest Dreams” by Taylor Swift; “Lean On” by Major Lazer & DJ Snake feat. MO; “Watch Me (Whip/Nae Nae)” by Silento; “See You Again” by Wiz Khalifa and “Perfect” by One Direction.
Without further ado:
Each day this month (assuming I don’t get busy or bored!), I’ll reflect on a tiny sliver of pop culture that I enjoyed or appreciated this year — scenes, shots, gestures, verses, sights, sounds, moments. Today: complimenting Bruno Mars in a way that sounds like an insult.
Something unexpected happens at the 32-minute mark on Bruno Mars’ album 24K Magic. I sat back in my chair.
The album ends.
It’s over. That’s it! Nine songs, each less than five minutes long. No skits, no tangents, no filler. Four years between albums, and here’s what Bruno Mars has to show for it: nine songs, all stellar.
Each day this month (assuming I don’t get busy or bored!), I’ll reflect on a tiny sliver of pop culture that I enjoyed or appreciated this year — scenes, shots, gestures, verses, sights, sounds, moments. Today: three of the year’s most influential artists who stayed silent at just the right moments.
Three of the biggest stars on the planet — Rihanna, Kanye West and Beyonce — released three of the most popular and acclaimed albums of 2016 in the first few months of the year. At least one of them is virtually certain to earn a Grammy nomination for Album of the Year tomorrow. In all three cases, only a few weeks’ notice and a few confusing bits of teaser information preceded the unveiling of these sprawling works of art, which spanned musicals genres and technological platforms.
The surprise nature of pop stars’ latest artistic statements no longer carries the electric charge of spontaneity that accompanied the release of 2013’s Beyonce. We’ve come to expect the unexpected. What’s more notable, to me, is how little we’ve heard from the artists behind these works about their approach to creating them. Beyonce has granted a grand total of zero interviews about their creative processes this year — no magazine spreads, no newspaper features, no television spotlights. Silence. West, meanwhile, afforded a few minutes of his time to a phone call with Vanity Fair’s Dirk Standen, during which he exclusively discussed the intent behind his lightning-rod music video for “Famous.” And Rihanna talked to Vogue for its April cover, saying a fair amount while revealing almost nothing of substance.
Taylor Swift and Tom Hiddleston are dating. Perhaps you know about this from the The Sun. Perhaps you know about this from Taylor’s Instagram. Perhaps you know about this from three sentences ago.
But they’re not just dating. They are a Thing. An Item. A Couple. (They might even get married.) They’ve been plastering PDA photos of their romantic travails across the Internet, in what seems like a desperate attempt to convince people of something they probably would have believed anyway. A few weeks ago, Hiddleston’s parents joined the movement. On the Fourth of July, a cadre of famous people like Blake Lively and Ryan Reynolds got in on the action.
And over July 4 weekend, so did the conspiracy theorists, of which I now consider myself one. (Much credit to Ellie Woodward of Buzzfeed UK for leading the charge on this important coverage.) The breaking point appeared to be the picture of Hiddleston sporting a gaudy “I Love T.S.” shirt that would be embarrassing if he were in middle school. It’s not a great look for the man who allegedly wants to parlay his T-Swift courtship into the dapper threads of 007. And, on the surface, none of this is a great look for Taylor Swift either. The charges frequently and often unfairly leveled against her — she fakes relationships for attention, she thrives on romantic drama with famous people, she perpetuates antiquated love fantasies and deludes her impressionable fans — don’t seem quite as unfair anymore.