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When Adult Swim canceled the epically brutal “Metalocaplyse,” it didn’t look like fans would ever find out if the prophecy surrounding Dethklok, the band at the center of show, would be fulfilled. The last episode/special, 2013’s “Metalocalypse: The Doomstar Requiem – A Klok Opera,” ended on a cliffhanger. As time passed, any definitive conclusion seemed less and less likely.
The team behind the show, however, wanted to give the series its proper finale. Smash cut to August 22, 2023, when the new film, “Metalocalpyse: Army of the Doomstar,” makes its debut to wrap up Dethklok’s saga.
The film is utterly delicious, a satisfying meal* served up with plenty of humor, gore, and darkness.
Actually, given the gravity of Dethklok’s—and the world’s—situation, there’s more darkness than usual for a “Metalocaplyse” jam. The fictional death metal band—lead singer Nathan Explosion (co-creator Brendon Small), bassist William Murderface (co-creator Tommy Blacha), drummer Pickles (Small), and lead guitarist Skwisgaar Skwigelf (Small)—have completed their heroically reluctant rescue of previously kidnapped bandmate Toki Wartooth (Blacha), their rhythm guitarist. But instead of starting the film feeling triumphant, Dethklok is in a funk.
Nathan in particular is having a hard time. Having mistaken his fling with Abigail Remeltindrinc (Raya Yarbrough) for something more, Nathan mopes, wallowing in his heartbreak. He can’t continue like that for long, though, as The Tribunal, which has been monitoring Dethklok throughout the entire series, is ready for the prophecy of the Metalocalypse to come to fruition. The only thing that can prevent the world’s doom is a song, specifically the Song of Salvation that Nathan must write to stave off utter doom.
Standing in the way is the sinister Mr. Salacia (Mark Hamill), leader of The Tribunal, who has his own nefarious reasons for hastening the Metalocalypse. Can Nathan overcome his self-doubt (and near-total idiocy) to write the Song of Salvation and prevent Salacia from achieving world destruction? Can the rest of the band get over their hurt feelings to help Nathan save humanity (which, in this case, is almost entirely made up of Dethklok fans)?
“Metalocalpyse: Army of the Doomstar” fully lives up it its poster’s tagline: “It will be brutal.” But in that brutality is a lot of beauty by way of the painting-like backgrounds. The clouds and embers which swirl overhead are rich, feeling almost 3D, which create a palpable tension between the beauty of the background and the horrors of the approaching Metalocaplyse. Additionally, the score and the soundtrack, which includes the single, “Aortic Desecration,” give “Metalocalpyse: Army of the Doomstar” the feeling of an event. Add to this the rock star voice work by Small, Blacha, Yarbrough, Hamill, Victor Brandt, Malcolm McDowell, Jon Hamm, Laraine Newman, Juliet Mills, and, well, everyone in the film, and you have a headbanger of a good time.
The Blu-Ray contains an exclusive poster and the featurette, “Behind the Metal Curtain,” wherein Small and some of the writers, animators, and musicians discuss the practical effects used to achieve the backgrounds mentioned above, as well as give vital insight into the creation of the whole package—film, soundtrack, and score.
Above all, “Metalocalpyse: Army of the Doomstar” brings the TV series to a fittingly brutal and funny conclusion.
You can check out the Trailer only on Youtube (Age Restricted)
*See our interview with Small for the genesis of this metaphor
“Metalocalypse: Army of the Doomstar” will be available on Blu-Ray and digital on August 22, 2023. “Dethalbum IV” will be available on August 22, and the original score to the film will be available on August 25, 2023. “Metalocalypse: The Complete Series” is already available for purchase.
The post Metalocalypse: Army of the Doomstar Brings Dethklok’s Saga to a Brutal Close appeared first on The Nerd Element.
When Adult Swim canceled the epically brutal “Metalocaplyse,” it didn’t look like fans would ever find out if the prophecy surrounding Dethklok, the band at the center of show, would be fulfilled. The last episode/special, 2013’s “Metalocalypse: The Doomstar Requiem – A Klok Opera,” ended on a cliffhanger. As time passed, any definitive conclusion seemed less and less likely.
The team behind the show, however, wanted to give the series its proper finale. Smash cut to August 22, 2023, when the new film, “Metalocalpyse: Army of the Doomstar,” makes its debut to wrap up Dethklok’s saga.
The film is utterly delicious, a satisfying meal* served up with plenty of humor, gore, and darkness.
Actually, given the gravity of Dethklok’s—and the world’s—situation, there’s more darkness than usual for a “Metalocaplyse” jam. The fictional death metal band—lead singer Nathan Explosion (co-creator Brendon Small), bassist William Murderface (co-creator Tommy Blacha), drummer Pickles (Small), and lead guitarist Skwisgaar Skwigelf (Small)—have completed their heroically reluctant rescue of previously kidnapped bandmate Toki Wartooth (Blacha), their rhythm guitarist. But instead of starting the film feeling triumphant, Dethklok is in a funk.
Nathan in particular is having a hard time. Having mistaken his fling with Abigail Remeltindrinc (Raya Yarbrough) for something more, Nathan mopes, wallowing in his heartbreak. He can’t continue like that for long, though, as The Tribunal, which has been monitoring Dethklok throughout the entire series, is ready for the prophecy of the Metalocalypse to come to fruition. The only thing that can prevent the world’s doom is a song, specifically the Song of Salvation that Nathan must write to stave off utter doom.
Standing in the way is the sinister Mr. Salacia (Mark Hamill), leader of The Tribunal, who has his own nefarious reasons for hastening the Metalocalypse. Can Nathan overcome his self-doubt (and near-total idiocy) to write the Song of Salvation and prevent Salacia from achieving world destruction? Can the rest of the band get over their hurt feelings to help Nathan save humanity (which, in this case, is almost entirely made up of Dethklok fans)?
“Metalocalpyse: Army of the Doomstar” fully lives up it its poster’s tagline: “It will be brutal.” But in that brutality is a lot of beauty by way of the painting-like backgrounds. The clouds and embers which swirl overhead are rich, feeling almost 3D, which create a palpable tension between the beauty of the background and the horrors of the approaching Metalocaplyse. Additionally, the score and the soundtrack, which includes the single, “Aortic Desecration,” give “Metalocalpyse: Army of the Doomstar” the feeling of an event. Add to this the rock star voice work by Small, Blacha, Yarbrough, Hamill, Victor Brandt, Malcolm McDowell, Jon Hamm, Laraine Newman, Juliet Mills, and, well, everyone in the film, and you have a headbanger of a good time.
The Blu-Ray contains an exclusive poster and the featurette, “Behind the Metal Curtain,” wherein Small and some of the writers, animators, and musicians discuss the practical effects used to achieve the backgrounds mentioned above, as well as give vital insight into the creation of the whole package—film, soundtrack, and score.
Above all, “Metalocalpyse: Army of the Doomstar” brings the TV series to a fittingly brutal and funny conclusion.
You can check out the Trailer only on Youtube (Age Restricted)
*See our interview with Small for the genesis of this metaphor
“Metalocalypse: Army of the Doomstar” will be available on Blu-Ray and digital on August 22, 2023. “Dethalbum IV” will be available on August 22, and the original score to the film will be available on August 25, 2023. “Metalocalypse: The Complete Series” is already available for purchase.
The post Metalocalypse: Army of the Doomstar Brings Dethklok’s Saga to a Brutal Close appeared first on The Nerd Element.
I’m going to steal something from the playbook of Leroy “Roy” Johnson, the main character and main antagonist of HBO’s BS High. I’m going to say that, in my non-libelous opinion, Roy Johnson is a preening maniac and nowhere near as charming as he thinks.
What I won’t say is that, in my opinion, he scammed underprivileged young men out of an education and potential athletic careers — since libel becomes an actionable claim once it’s made about criminal actions — but I will stick to the gray areas Johnson seems to adore so much and say that, at the very least, that’s just what I heard from HBO’s captivating new documentary.
Executive produced by Adam McKay (Succession, The Menu, Don’t Look Up) and directed by Travon Free and Martin Desmond Roe (Two Distant Strangers), BS High is the story of Bishop Sycamore High School, a so-called charter school that failed to either educate its players or prepare them for college athletics via the football team it was built around. Further, it is about Roy Johnson, aka the Big Bad Wolf if he were a balding, self-satisfied middle-aged man.
The well-crafted doc does its best not to make everything about Johnson, so I will make the same attempt in this review. But you have to know that’s a tall order. If the cliché is true that a story is only as good as its villain, then this story is amazing.
What can one say about Johnson as presented in this documentary? He’s occasionally charming but always with something behind his wide-eyed demeanor that reads as either neurotic, acquisitive, or both. The first time we meet him, he explains that he has studied body language in school (with no way to tell if that’s true or something he just says to confer authority upon himself), and he worries about how he’ll come off depending on the position of his hands.
“Do I look like a con artist?” he asks the directors with a smile. “I don’t wanna look like a con artist.” Later, while giving a list of his “qualities,” he explains, “I’m insecure, I’m an extremist, and I’m very resourceful.” And, as he’s just self-aware enough to know: “This is a bad combination.”
He’s a man who has ostensibly spent his entire adult life trying to profit off of others while providing nothing in return. He doesn’t see his actions in terms of “good” or “bad” but rather “legal or not.” This is not to say he doesn’t often break the law; he certainly does, leaving hundreds of thousands of dollars in unpaid hotel bills, parking tickets, etc. in his wake. It just means that when he isn’t outright disregarding the rules, he’s contorting them in his favor. In all, Roy Johnson is a man who has studied the topography of the law enough to ascertain the depths of its gray areas.
All of this culminates in the day his “school” plays against IMG, a Florida sports academy that houses one of the nation’s best high school football teams. Bishop Sycamore (cheekily referred to as “BS” in the doc) is trounced. It’s a 58-0 blowout that, because it was broadcast by ESPN, leaves the BS players humiliated on a national scale. From here, investigations begin and the results leave people like journalist Andrew King, Ohio student athletics investigator Ben Ferree, and Johnson’s former partner John Branham Sr. feeling annoyingly vindicated that they were right about Johnson back when no one cared to listen.
BS High transitions from comedy into tragedy when we see the toll of Johnson’s eager mendacity. He is a preposterous figure, and it’s definitely funny to watch him equivocate and half-truth his way into a bad facsimile of a justification for his actions, but then there’s the effect these lies had on his players.
Testimonials from former BS players suddenly make this an uneasy watch. Quarterback Trilian Harris was depressed to the point of suicidal ideation after not only feeling duped but having the result of this confidence trick play out on live television and, worse, Twitter. Cornerback Adrian “Pahokee” Brown Jr. feels cheated out of his football dreams and his opportunity to focus on getting into a real college. And stories like these repeat themselves until the joke has lost its punch.
Roy Johnson, in his hubris and delusion, is hilarious; what he did to these kids is not. As featured sports journalist Bomani Jones puts it, “The coach is seen as another father,” and Johnson exploits this expectation of a positive role model to the detriment of disadvantaged and vulnerable teens.
What may surprise some viewers, as it surprised people at the time, is that Johnson is a Black man. Bomani Jones makes it clear why this shouldn’t shock anyone. If there is a question of “how could he do this to his own people,” people that, for one reason or another, likely would have a hard time getting into college and especially college football, Jones posits the answer as this: “He did that to his people because that’s who you could do this to.”
What makes the documentary ultimately a devastating viewing experience is that we see how much these kids, young men aged anywhere from 18 to 20, wanted this to work out. They came to Johnson because they were love bombed and promised the world. What they got was a $12k “tuition” fee and injuries from the IMG game that may last a lifetime.
If it sounds like I’ve exhausted every narrative thread in this doc and spoiled it, please believe me when I say there’s so much more. There’s the school’s precursor, Christians of Faith Academy, that failed spectacularly before morphing into BS. There are the bizarre, occasionally disturbing anecdotes about Johnson’s actions, including the time he ran over geese for fun. And then there’s the legal fallout (or lack thereof) that Johnson faced for his actions beyond his two fake academies. There’s so much more, and it’s all packaged into a nice 97-minute runtime.
Directors Travon Free and Martin Desmond Roe set out to tell a wacky story about a woefully overmatched team from a fictitious school and the con man behind it. What they got was this and also a meditation on how this was only possible because the con man knew how much import is placed on high school football in America and how much money, which students never see, can be made from someone enterprising enough to put together a robust program. Johnson’s problem was that he was foolish enough to think he could do this with only his oily smile and Grandma-why-are-your-eyes-so-big disposition.
I want to stay in a Johnsonian libel loophole, so I’ll say this: I think this documentary is amazing, necessary viewing because it is about a man who (I think) preyed on the disadvantaged remorselessly. Johnson will be (I think) silly enough to really believe all publicity is good publicity and will continue his life being (in my opinion) a tiresome, egoistical bore.
It’s just a good thing this documentary is out to warn about folks like him and the problems they represent.
BS High premieres Wednesday, August 23, 2023, at 9:00–10:40 p.m. ET/PT on HBO and Max.
The long-awaited series Star Wars: Ahsoka is finally landing on Disney+ on August 23. And to make the arrival of Anakin Skywalker’s former apprentice even better, Ahsoka herself will also be a character at Star Wars: Galaxy’s Edge in Disneyland starting on the very same day. Although Ahsoka appeared in Galaxy’s Edge at Disneyland for special ticketed After Dark events like Star Wars Night, this will be the first time park guests during regular operating hours will be able to take a selfie with Ahsoka during daylight hours.
Ever since Galaxy’s Edge opened up in 2019, the Outer Rim outpost planet of Batuu has become home to many familiar characters. On any given day, fans can interact with Rey, Chewbacca, Kylo Ren, and Stormtroopers. But for a long time, the characters were firmly from the sequel trilogy timeline. Things loosened up last year when Boba Fett and Fennec Shand arrived in Galaxy’s Edge. They were followed quickly by the Mandalorian and baby Grogu. Now, Ahsoka Tano will join them, and will interact with fans as she wanders the land.
Ahsoka previewed her debut at a fan event held at Disneyland on August 17. There, several Star Wars fans got to pose for photos with the ex-Jedi padawan. It seems as though Ahsoka Tano will apparently be exclusive to the Disneyland Resort, at least for now. There’s no solid word if she will eventually find her way to the Galaxy’s Edge over at Walt Disney World. However, Boba Fett, Fennec Shand, as well as Mando and Grogu, all debuted at the California park before making the journey to Florida. So, eventually, we expect that fans on the east coast will get to hang out with Ahsoka too.
Ahsoka debuts on Disney+ and also at the Disneyland Resort on August 23.
The post Ahsoka Becomes Part of STAR WARS: Galaxy’s Edge at Disneyland appeared first on Nerdist.
Fine artist and quilter Phyllis Stephens wants you to know that her art-form is as physical and equivocal as the steps you might make on the dance floor, and that her latest series captures the “Art of Dance” in a bold, innovative way.
“Dance and quilt-making are exactly the same” Stephens told BLACK ENTERPRISE in an exclusive interview.
What else is the human experience, if not a dance of praise, love, labor, liberation and resilience? The dance is hard-wired like DNA and shows up in every aspect of life—both physically and spiritually but specifically through art form and expression.
Consider the praise dance of elders and conjurers who have kept the faith; the hustle of mamas and papas who worked ungodly hours as domestics and field hands in kitchens and on lands that would never take possesion of. Imagine the stolen moments and slow grind between unlawful lovers who did not even own themselves. Feel the rhythm and blues in the collective dance toward freedom and the patient two-step of the movements that kept the community grounded—but steady moving.
Enter Stephens, whose recent body of work The Movement of Material is connective tissue tying the historical movements of yesterday to the free-spirited dance of the now.
The collection consists of 10 majestic pieces that are a far cry from timidity, and authenticated swatch by swatch This series is heroic in weight, scale and tale. It is big, Black bodacious, soft and above all–telling. Each piece weaves a polychromatic narrative around the motility of dance and a reclamation of safe space.
The Movement of Material accomplishes a great feat, a “Balancing Act” between texture and color, welcoming viewers to a citified soiree where Black bodies exalt one another: one holding their world up as the other holds it down, both perfecting balance in an otherwise unsteady environment.
“Feel it in my Soul” does restorative work like a revival service, a consecration of sorts—church if you will. Observers will feel the soul-tie of partners entranced in the soulful art of dance in their own backyard against the backdrop provided by the most high. They, too, are witnessing the spiritual dance at play between Artist and elements; the background and the foreground; the stitch; the layer; story and the colored body.
Stephens pays a particular attention to women. They are presented with detail, poise and prowess.
The gaze in works like “Limbo Leigh,” “Bailaora,” “This Leads To Love,” and “Work It” is as arresting as what they command through the language of dance—through hip, waistline, embrace, and striking pose.
The “Party Planner,” and the women in “Upward Bound,” “Whirlwind,” and “The Rest of Forever” dance to the beat of their own life’s drum, and are committed to movement.
It is in these pieces a redirection to the materials and the environment is evident. It’s seen in passing locomotives; the billow of clouds and hemlines; a soft wind beneath a young’n feet; a breeze through Japanese maple.
The Movement of Material centers the cultural and intimate exchange of Black joy and love through dance with an expanded focus on the dance floor, albeit in the midst of concrete and verdure.
This level of motion and tourism is truly top tier.
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