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  • October 10th 2021
    tags: filed under thinking out loud, films and series
    tags:
    • series
    estimated reading time:
    tags: just shy of three minutes (~883words)

    Ted Lasso

    »If the Lasso way is wrong, it’s hard to imagine being right.«

    Thanks to the many streaming services producing original shows for their programs, we are living in the golden era of TV series. Large-scale projects with a ludicrous production value and great writing à la ‘The Mandalorian’, ‘Dark’, ‘Mr. Robot’, ‘The Witcher’, ‘Mindhunter’, ‘Black Mirror’ or ‘Stranger Things’ used to be very rare back in the days of classic television, let alone the exceptional niche projects like ‘Love Death + Robots‘, ‘Abstract’ or Bo Burnham’s ‘Inside‘. [the last not being a series, I know, but can’t mention this marvelous piece of art often enough]

    By contrast, there hasn’t been much original comedic content I’ve gotten really enthusiastic about from those services —besides some of the Netflix stand-up specials and maybe ‘How to Sell Drugs Online (Fast)’. That being said, it’s great to have wide access to the beloved sitcoms initially produced for television, such as ‘Modern Family’, ‘Life In Pieces’, ‘Community’ and the best sitcom of all time –and one of my favourite series altogether– ‘Scrubs’.

    Only recently I became aware of a new show developed by its creator Bill Lawrence –for Apple’s streaming service, unfortunately– called Ted Lasso. It’s centered around a pre-existing character, which was created by Jason Sudeikis over a decade ago for a stage program and later adapted for a series of promotional clips from broadcaster NBC Sports, before it became the lead character in the show of the same name in 2020.

    Its underlying story is quickly summarized: Rebecca Welton hires American Football coach Ted Lasso to train her football –being soccer, not the American sport– club ‘AFC Richmond’ so that he’d fail miserably and ruin the Premier League team in the long run. In doing so she hopes to get revenge on her cheating ex-husband, who previously owned the club and still is very attached to it.

    Ted : Guys have underestimated me my entire life and for years I never understood why —it used to really bother me. But then one day I was driving my little boy to school and I saw a quote by Walt Whitman, it was painted on the wall and it said, ‘Be curious, not judgmental.’ I like that. So I get back in my car and I’m driving to work and all of the sudden it hits me —all them fellas that used to belittle me, not a single one of them was curious. You know, they thought they had everything figured out so they judged everything and they judged everyone. And I realized that their underestimating me —who I was had nothing to do with it. Because if they were curious they would have asked questions.

    At its core, the story follows the fish-out-of-water narrative, poking fun at some of the cultural differences between America and England along the way —the mismatch in language being a constant source for gags for example. As a matter of fact, one might hear the premise and brush aside Ted Lasso for simply being a classical underdog sports story, but just like ‘Scrubs’ wasn’t a hospital series in the first place, there’s no need to be interested in soccer at all to enjoy this show.

    Both series use their setting merely as a vehicle to touch on essential topics like anxiety and loss, struggle and success, belonging and purpose, and, above all, human relationships —be it of romantic or professional nature, friendship or family ties. They are entertaining comedies at heart and very funny at that, but both manage to balance out the easy-going laughs with some heartfelt drama more effortless than any other series I know of. Lawrence is able to make you literally laugh out loud on some silly nonsense, just to tug at your heartstrings a few scenes later or hit you hard with some inspiring life advice every now and then.

    In a ‘Sesame Street’ themed episode during the last season of ‘Scrubs’ [S8 E5; My ABC’s] its protagonist Dr. John ‘J.D.’ Dorian contemplates about the famous children’s series, but to me, the bottom line has always applied to ‘Scrubs’ itself, too, and it holds true to Ted Lasso just the same:

    J.D. : And then I realised why I thought about Sesame Street all day. In a way, you can learn everything you have to know from watching it as a kid. Like, always play nice, always try your hardest and even, it’s okay to cry.

    Another strength of Ted Lasso –besides its amazing writing– is the quality of its ensemble. It’s an absolute joy to watch Sudeikis embody the relentlessly optimistic, almost annoyingly positive coach with unexpected depth. Thanks to him the series is upbeat and brim-full of frenetic energy without ever losing the human touch.

    And from Lasso on down, there’s a roster of great figures with personalities and interesting character arcs throughout the seasons. The entire cast through to the supporting actors is terrific, bringing grandiose chemistry onto the screen.

    On Friday the final episode of the second season dropped and I’m really curious how the confirmed third season is going to wrap up the loose story threads we are left with right now. But I’m pretty optimistic, that Ted Lasso is going to join ‘Scrubs’ for my favourite series of all time eventually.

    .../blog/2021/10/10/ted-lasso/
  • October 5th 2021
    tags: filed under events
    tags:
    • animated films
    • CGI
    • graphic design
    • interface design
    estimated reading time:
    tags: just shy of three minutes (~872words)

    OFFF 2021

    Revisiting one of europe’s biggest festivals of creativity during a global pandemic

    About six years ago I stumbled upon the OFFF Festival for the very first time. I honestly can’t remember if my wife and I were planning to visit Barcelona again anyway –after our prior trip during La Mercè in 2013– or if the festival itself was the reason to return to Catalonia in the first place. Either way, the years thereafter I made sure to rush for a so-called ‘super early bird ticket’ as soon as they dropped –a year in advance– and then planned a vacation around the date of the event only much later.

    Three years in a row I marvelled several of my design heroes and discovered the stunning work of a myriad of creatives previously unknown to me. Buzzing with sheer creativity the festival to me always has been an inspiring melange of motivation (»that shit is fucking amazing, now THAT’S why I want to work in the creative industry in the first place!«) and disillusionment (»that shit is fucking amazing, why is my stuff not THAT great?«), sending me back home with the strong urge to learn more and create better time after time.

    In combination with the wonderful Museu del Disseny the festival takes place at, the beloved city of Barcelona all around and the beautiful beaches of Sitges nearby, I found it to be the perfect way to regenerate and recharge my creative batteries. As a consequence, my rather random first attendance at OFFF became a tradition near and dear to my heart and a holiday trip I looked forward to full of joy beforehand every year.

    © OFFF / 2016

    Once two of my colleagues from Wagnerwagner went along and together we wrote about our OFFF experience in-depth –in german– in a series of articles on Medium afterward.

    After I had to resell my ticket for 2018 because of a friend’s badly timed wedding, the following year was the first time since my primal attendance in 2015 I didn’t buy a ticket in the first place and skipped the festival intentionally, albeit with a very heavy heart.

    All the bigger the anticipation when I bought a ticket –super early bird, of course– for the 20th Anniversary past year and booked a corresponding ten-day trip with my wife shortly after. But you know how 2020 went down eventually.

    InOtherWorlds

    After rescheduling at first and eventually canceling the event completely last year, its organisers decided to move to the digital space for 2021 from the outset. Even though there were no other real options —hosting a huge event with people from all over the world would’ve been a reckless decision (WTF UEFA?), I was bummed out a bit.

    And despite the apparent effort, the team spent on the digital infrastructure in an attempt to make the experience more of a virtual festival than just a series of live streams, the presentations themselves were exactly that in the end.

    The admittedly cool entrance to the virtual conference rooms …

    … hid a rather underwhelming digital main stage

    This is how most of the presentations looked like basically

    Sensory reformulation

    To make up for it –and probably due to the saved costs thanks to the speakers not traveling– this year’s festival lasted twice as long, taking place over the course of six instead of the usual three days, resulting in a vast amount of presentations. Since the festival happened in May already and I watched as much of the program as possible back then, I am by no means able to recapitulate much of it in great detail anymore.

    The good news is that there are some recordings available, so instead of trying to summarize the presentations I’ve watched, I’m going to give you a brief rundown of the ones I remember being especially impressive and/or inspiring for you to watch yourself. Unfortunately, I’m not able to link individual videos here, you have to search for them on the recordings page:

    • Tendril
    • Future Deluxe
    • Alistair Simpson
    • Studio Dumbar
    • Saam Gabbay
    • Omelet
    • Universal Everything
    • Joshua Davis
    • Adam J. Kurtz

    Sadly one of my favourite talks, Stefan Sagmeister speaking about art as opposed to design and his wonderful project ‘Beautiful Numbers‘, isn’t available for some reason, similarly to the closing presentation by GMUNK.

    Stefan Sagmeister speaking about good design

    Let’s feed the future

    © GMUNK

    The film ultimately focuses on the human condition nested within a cult of robotic shamans called The Vi, and examines the deep emotional connection to loss and rebirth.

    GMUNK was presenting some of his astonishing work –which you are able to find online, but in addition, he was talking about a short movie called ‘DECIMA’, which is going to debut at next year’s OFFF. You are able to watch its teaser on Vimeo and I can’t wait to see the final short on the big screen when the festival is going to be held on-site again from 5-7 May 2022. [fingers crossed]

    This year’s digital event was an interesting experience with a lot of amazing work on display –as usual, but ultimately there was no chance it could’ve been an adequate substitute for the original face-to-face experience in Barcelona, to be honest.

    Ticket sales for next year just have started, guess who got himself an ‘early bird’ ticket already.

    .../blog/2021/10/05/offf-2021/
  • September 16th 2021
    tags: filed under thinking out loud, music
    tags:
    • albums
    • music videos
    • musicians
    estimated reading time:
    tags: less than two minutes (~406words)

    Kunzite – VISUALS

    »Ride on the rays of the farthest sun«

    About a decade ago I came across the electronic rock from Ratatat for the first time because of their features on one of my favourite albums, Kid Cudi’s masterpiece ‘Man on the Moon: The End of Day’. The recognizable sound the Brooklyn-based duo was contributing to the tracks ‘Alive’ and ‘Pursuit of Happiness‘ –probably one of my favourite songs of all time– lead me to listen to their music quite extensively back then, first and foremost to the extremly catchy tunes of their earlier released album ‘Classics’.

    Just recently –six years after the last vital signs of Ratatat– said album (which nowadays is available on YouTube in its entirety) popped into my head again while listening to ‘VISUALS’, the just-released second longplayer by a band called Kunzite. Only after doing my habitual research on the music project unkown to me hitherto, I discovered my association is not by chance;

    The 2018 formed duo is a collaboration between the musicians Agustin White and Mike Stroud, the latter being the guitarist of –you guessed it– Ratatat, for which he plays a variety of instruments. I guess a lot of the infectious groove on ‘VISUALS’ caused by synthesizers, pipe organs and lap steel guitars is to a great extent attributed to him, at least it undoubtedly sounds a hell lot like his other music project.

    In fact the whole record sounds like Ratatat got inspired by the island vibes of Hawaii –where White and Stroud recorded large parts of the longplayer, decided to dial back the weirdness just a tiny bit and, most notably, add hypnotic pop vocals to their repertoire.

    The result is a psychedelic joyride and probably one of my favourite albums of 2021 so far. I can’t wait for ‘VISUALS’ to drop on vinyl later this year (November), until then I have to be careful not to listen to it repeatedly ad nauseam in its digital form —especially since it oozes summer fun and therefore matches the current late summer sun way better than the dark winter months ahead.

    There’s rumored to be an exclusive track with the grande Lee ‘Scratch’ Perry on the physical record, though, so I’m going to put it on as soon as I get my hands on it, no matter how often I’ll have played it already till then.

    © KUNZITE (via YouTube)

    © KUNZITE (via YouTube)

    .../blog/2021/09/16/kunzite-visuals/
  • June 5th 2021
    tags: filed under thinking out loud, films and series
    tags:
    • art house
    • musicians
    • performance
    estimated reading time:
    tags: a little over two minutes (~476words)

    Bo Burnham – Inside

    »Should I be joking at a time like this?«

    Five years after he turned his back on performing, Bo Burnham is finally back on stage —or rather would’ve been if the pandemic hadn’t prevented his return last minute. Instead Burnham used the forced isolation during the last year to write, perform and edit the new Netflix comedy special –an improper label, by the way– all by himself at home. Basically he’s coming full circle more than a decade after starting out as a teen performing quirky comedy songs alone in his small room for a fast-growing YouTube audience.

    The new program, aptly titled Inside, is a wild amalgamation of sketch comedy pieces, documentary elements and –of course– catchy musical performances. One of its great achievements is how well the seemingly disjointed bits are pieced together to archive a somewhat coherent narrative to follow along, not unlike a four act story structure. Burnham always had immense talent for witty writting and pinpoint timing and he has clearly perfected his craft, adding some political awareness and meta humor to his already poignant zeitgeist commentary.

    In earlier shows he brought up his personal struggles every now and then, be it him coping with newfound fame or suffering from anxiety, but this new experiment blurres the line between his stage persona and the artist’s mental inside entirely, delivering multiple gut-wrenching insights and a painful character dissection throughout its 87 minutes runtime. That’s why I think labeling it a comedy special doesn’t do it justice, probably even bringing people in with completely wrong expectations. To me those highly emotional, dark and intimate moments intensify the comedic value and vice versa, but I totally understand how they might catch viewers off guard if the expectation is easygoing, mindless fun.

    I’ve heard people calling Inside an arthouse film and I think that’s probably the best way to characterise the project. Not only because of its content, but because of its arrangement as well. It’s absolutely incredible what the comedian, musician, actor, director and screenwriter is able to archive basically with a tripod, a small consumer camera and various LEDs all by himself. The meticulous planned motion picture is brilliantly framed, illuminated and edited, resulting in a visually gorgeous, highly cinematic piece, in spite of its claustrophobic single room setting. It’s an inspiring example of how far creativity can get you even –or maybe especially– within strict limitations.

    I think Burnham has crafted a true masterpiece and an exciting contemporary document —of the pandemic and its isolating impact in particular as well as our self-centered generation and modern (internet) culture at large. Inside is probably the best thing I’ve seen for a very long time and I wholeheartedly recommend it to everyone willing to go through this emotional rollercoaster ride. I’m pretty sure the two three four fifth viewings of mine won’t remain the last.

    .../blog/2021/06/05/bo-burnham-inside/
  • May 18th 2021
    tags: filed under thinking out loud, films and series
    tags:
    • animated films
    • CGI
    • sci-fi
    • series
    • short films
    estimated reading time:
    tags: a minute and a bit (~307words)

    ❤️☠️🤖

    The second season of the unique animated Netflix series Love Death + Robots is available since last weekend and once again David Fincher and Tim Miller have put together an impressive collection of science fiction short films by animation studios from around the world, as well as Miller’s very own visual effects studio Blur.

    As a result the eight new episodes, produced by different casts and crews, vary widely in tone, length and style again, whereby the series as a whole still clearly targets an adult audience.

    After the first run my favourite new episode is “The Drowned Giant” by Tim Miller himself, which closes this season and offers an unusual, poetic and gentle narrative based on a short story by J. G. Ballard from 1964. It stands out against the rather action-filled, more traditional Sci-Fi topics presented in most of the other new pieces of the anthology.

    It can’t quite keep up with the wonderful, Zen-like “Zima Blue” from season one, though, which I must have watched a dozen times. To me the second season overall is not as strong as the first one, albeit beeing extremly impressive and diverse on the technical side yet again. Perhaps the concept isn’t as fresh anymore as it was when launched initially back in 2019 –so thematic overlaps are predetermined to happen–, or perhaps the fewer episodes –eight instead of eighteen– naturally leave less room for variation and new ideas. Either way, I somewhat missed the impact the first eigtheen episodes had on me.

    With that beeing said, if you are into (mature) animation, the art of moving-images and science fiction stories, there’s nothing like this series –at least since Heavy Metal (1981) and Animatrix (2003)– and season two is well worth watching for sure. I’m very happy the gutsy, artistic project is continued, an eight-episode third season is scheduled for a release in 2022.

    .../blog/2021/05/18/love_death_robots_s02/
  • February 4th 2021
    tags: filed under thinking out loud, culture and sociology
    tags:
    • Japan
    • nature
    • slow living
    estimated reading time:
    tags: a little over two minutes (~475words)

    Small Seasons

    A short introduction to Sekki

    One of the books I’ve read and deeply enjoyed last year was “White” by renowned Japanese graphic and industrial designer Kenya Hara. In his book, Hara elaborates on the value of white for aesthetics and design as well as the significance of emptiness for humane communication and Japanese culture. One of the manifold cultural phenomena casually brought up in the book –which, again, is well worth reading as a whole– is Sekki (節気).

    In ancient China and Japan, when agriculture was the backbone of society and the focal point of everyday life for the vast majority of the regular population, farmers broke down the year in twenty-four Sekki. In contrast to our four long seasons, those “Small Seasons” were not pinned down to calendar dates, but based on environmental phenomena and the rhythm of nature instead. Basically, each Sekki is linked to a specific climatic shift, lasts for about two weeks, and is often described with almost poetic language to visualize the outlined changes.

    Because I grew up in a city –seemingly disconnected from agriculture– seasons never held that much importance for me to begin with, but as a grown-up, that segregation even got worse. And as if that wasn’t enough in and of itself the ongoing pandemic has flattened life brutally last year; Trips can’t take place, events have been postponed or are canceled completely, leisure activities are on hold and most human encounters are reduced to strictly digital gatherings.

    With weeks passing by in an instant and months blending together seamlessly I’ve found some relief in the idea of small seasons. It’s somewhat therapeutic to have a fine-grained time measurement to hold on to and it’s refreshing to have something to look out for in nature — even though living on a different continent means that nature has a different rhythm to varying degrees of course. It’s a welcome variety to this Groundhog Day-like array of dim repetition most of us are currently trapped in.

    If you’re interested in the concept of Sekki, too, and want to break down the upcoming year in small seasons yourself now, I highly recommend “A guide to understanding Small Seasons”. Canadian designer and developer Ross Zurowski has built a simplistic and informative website, a twitterbot, and even some handy tools to add Sekki to your Google or iCal calendar.

    And in case you have an idea on how to evolve the whole project further, you can contribute to its Github repository. There are already a few more interesting alternative calendars from different cultures referenced over there.

    Approximately today –as mentioned before dates vary– is the “Start of spring”, called Risshun (立春), so it feels very appropriate to use this as an introduction to my renewed blog. More about that in another blog post soon, but for now: Hello world!

    “Ground thaws, fish appear under ice.”

    .../blog/2021/02/04/small-seasons/
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ps.: You look good today. ✨