It's a reference to the cult sci-fi film Zardoz (starring the
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It's a reference to the cult sci-fi film Zardoz (starring the
I misread this as Softpornocalypse
So these are movies with nudes but no actual sex that are all filmed in bunkers and take place after a nuclear war.
Very cheap, no outdoor scenes, lots of concrete.
And nobody ever ask why there is hay laying around
Serial Procedural: Police Procedural where every crime takes 12-18 episodes to fully solve. Usually 6-10 episodes of investigation and 6-8 episodes of the court case. Unlike Episodic procedurals tends to feature deeper dives into characters motivations and arcs.
I made myself a little sad that this doesnt exist tbh.
I made myself a little sad that this doesnt exist tbh.
They sorta have these (the one where they busted the McDonald's Monopoly game scammers) but they're typically docu-dramas.
Kakawing Bukiap:
A distinct Philippine genre, both in cinema and television series, where indigenous martial arts (silat) are prominently emphasized, particularly the fight scenes using kali. Usually set in the pre-colonial era, although it may also include the colonial and independence period (hence the term kakawin), this genre often used both the literary classics and original screenplays as material source.
A distinct Philippine genre, both in cinema and television series, where indigenous martial arts (silat) are prominently emphasized, particularly the fight scenes using kali. Usually set in the pre-colonial era, although it may also include the colonial and independence period (hence the term kakawin), this genre often used both the literary classics and original screenplays as material source.
Zardoz your God gave you the gift of the gun... the gun is good!
I like this better than TL's which involve time-traveling miscreants distributing modern firepower at historically-pivotal moments...
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Kong-pocalypse (港難片)
A genre of disaster films produced in Hong Kong during the early to mid-1990s’, ranging from science fiction to fantasy, which always depicts the then British colony and soon to be Special Administrative Region of China being faced with the threat of impending destruction, be it at the hands of a malevolent outside force (Aliens, monsters, terrorists), or some natural disaster (Meteor strike, tsunami, earthquake, etc).
This genre’s most notable difference compared to other disaster films is that the exact nature of the apocalypse will never be the focus of the stories. Instead, the heart of the stories will always be on the ways in which various individuals (Often from diverse backgrounds and occupations, to reflect the city’s entire social-economic ladder) react to the end of their lives as they knew it. Some most notable archetypes in this genre include:
The distinctive thematic feature of the Kong-pocalypse genre will be their consistently nihilistic outlook: Everyone is either delusional, overcome with utter despair, or having long since given up hope: There will be no way of preventing the destruction of their city or to save themselves or those they love. You cannot fight back against the malevolent forces or stop the disaster, all the efforts of the main characters are just at best, delaying the inevitable and to make each other more comfortable in their final moment. There is no hope, only death and suffering.
Many sociologists and film critic have interpreted the Kong-pocalypse genre as a reflection of the city’s collective anxiety and fear over the city’s handover to China as 1997 approaches, especially after the cultural impact and trauma that the 1989 Tiananmen Square Incident had on the population, with many of them having watched the live TV broadcast of crackdown the same way that the characters in the movies often watched news reports of the impending apocalypse that will soon be upon them near the start of the stories.
In the years since the handover, the genre has largely died down. But recently, however, older Kong-pocalypse films have gained a loyal cult following with a younger generation of Hong Kong audiences, with references to memorable quotes taken from the movies and memes created using screenshots being a common sight in forums such as HKGolden and LIHKG.
A genre of disaster films produced in Hong Kong during the early to mid-1990s’, ranging from science fiction to fantasy, which always depicts the then British colony and soon to be Special Administrative Region of China being faced with the threat of impending destruction, be it at the hands of a malevolent outside force (Aliens, monsters, terrorists), or some natural disaster (Meteor strike, tsunami, earthquake, etc).
This genre’s most notable difference compared to other disaster films is that the exact nature of the apocalypse will never be the focus of the stories. Instead, the heart of the stories will always be on the ways in which various individuals (Often from diverse backgrounds and occupations, to reflect the city’s entire social-economic ladder) react to the end of their lives as they knew it. Some most notable archetypes in this genre include:
- The career driven businessman that tries to use his (Increasingly worthless) money which he had spent his entire life earning to bargain with others in order to protect his family and himself, still thinking in terms of the old ways in that he can ‘buy’ his way out of any situations
- The housewife, most often the spouse of the businessman, that have absolute trust in the authorities. Confident that they will either avert the coming doom, or at least find a way to rescue everyone, even as it becomes increasingly clear that the powers that be have either abandoned them, or at best, no longer be in a position to help even if they want to.
- The triad crime boss that tries to take advantage of the situation to exploit others, hoarding supplies, bullying those that are weaker, stealing, looting etc. In stories in which the apocalypse is caused by a malevolent force, this architype often tries to betray the group and make a bargain with said malevolent forces to protect himself
- The older, elderly couple that have either lived though the Japanese occupation during WW2, or have originally fled to the city as refugees, making frequent comparisons of the current situation with their current predicament. These characters have a tendency to be largely passive, either being contented that they have already lived a long life, or accepted the fact that nothing they do will matter at the end in changing their fates
- The middle-aged office lady (OL) that deals with the stress of the situation though snark, sarcasm, and hostility directed against those that she sees as having a lower social status compared to herself. This character will often in deep-seated denial, stubbornly tries to continue doing the things that she is used to such as applying make-up, being fussy about food as she need to keep to her diet, etc, done as a means of maintaining a sense of control, but the façade will alway ultimately crumbles when the reality of the situation hits her, ending in her bawling in despair
- The group of secondary school or university aged students led by their teacher of professor that tries to organize everyone, to either fight back against the malevolent forces/contain the disaster, or at the very least, try to find a way for everyone to escape. Constantly on the move trying to take charge and do something until the bitter end
- The young primary school aged child that have a hard time understanding what is going on around him, being confused at why everyone seems to be so upset
The distinctive thematic feature of the Kong-pocalypse genre will be their consistently nihilistic outlook: Everyone is either delusional, overcome with utter despair, or having long since given up hope: There will be no way of preventing the destruction of their city or to save themselves or those they love. You cannot fight back against the malevolent forces or stop the disaster, all the efforts of the main characters are just at best, delaying the inevitable and to make each other more comfortable in their final moment. There is no hope, only death and suffering.
Many sociologists and film critic have interpreted the Kong-pocalypse genre as a reflection of the city’s collective anxiety and fear over the city’s handover to China as 1997 approaches, especially after the cultural impact and trauma that the 1989 Tiananmen Square Incident had on the population, with many of them having watched the live TV broadcast of crackdown the same way that the characters in the movies often watched news reports of the impending apocalypse that will soon be upon them near the start of the stories.
In the years since the handover, the genre has largely died down. But recently, however, older Kong-pocalypse films have gained a loyal cult following with a younger generation of Hong Kong audiences, with references to memorable quotes taken from the movies and memes created using screenshots being a common sight in forums such as HKGolden and LIHKG.
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I had an idea for something like this, where cases overlap and vary in length (to my knowledge detectives are rarely working on only one case at a time). Some might be pretty open and shut, while others last the season as new information trickles in ("the lab report on the Crosswell case [started two episodes ago] just came in"). Some cases keep popping up for an episode, then go quiet for months before the next lead can be found.
Highly rewarding for regular viewers (or binge-watching) but not for casual fans, it would be a clever way to illustrate just how frustrating detective work can be and how the solution is often just persistence. I wholeheartedly approve of more series where the trial is as much a part of the story as the investigation.
Sounds like a US/Canada-centric version of Latin America's "Prehispanic metal" (Metal prehispanico, there is an equivalent scene in Brazil) which has indigenous instruments added to a typical metal sound. Runs the gamut from some folk metal bands who sing in Nahuatl, Maya languages, or Tupi to bands themed on Latin American history.
Something like this:
To some degree it already exists since there's a Canadian black metal band themed on Tsimshian history called Gyibaaw (blackened death metal) who sings in Coast Tsimshian (the lyrics are done by a linguist), among a few other instances of Amerindian-inspired metal. Or like Dzö-nga (started as Tibetan inspired, then switched to musical and lyrical inspirations of Algonquian and Iroquoian peoples).
Anecdotally I've heard the most popular metal bands on Indian reservations are Pantera and especially Slayer (this was from a Navajo guy IIRC), so I could see a Lakota or Navajo band (or any band from a larger reservation) singing in their native language out of novelty. Although maybe you could get Chuck Billy from Testament (he is an enrolled Pomo Indian) to do an indigenous-themed side project, in part/wholly sang in some Pomoan language (that could be a huge boost to California Indians who are overlooked in pop culture). I think Canada might be the best bet for this though since Canadian labels helped promote some real obscurities like an Inuit hard rock album (no indigenous influences sadly) so it's probably a matter of getting the right metal cassettes/LPs (your 70s/80s metal classics) to "the rez" in the 70s/80s and having the right people inspired by it.
Sorry for the long post, I've always been interested in metal with themes like that.
Wait for it. Seems like something relatively cheap to do/can be done as one season at a time so less risk. Expect it sometime this decade
Dino Country [1] - A subgenre of country and/or rockabilly music which incorporates themes and imagery of palaeontology and dinosaurs, understandably emerging in rural Montana and Wyoming communities. Dino Country has its origins in the Dinosaur Renaissance of the 1970's to the 1990's, where views of dinosaurs as active creatures led expeditions out west to find new specimens, inadvertently bringing attention many struggling communities, rushing to capitalise on it. It gained a major resurgence in the wake of Jurassic Park's release.
Common elements of the genre include:
[1] Also known as Fossil Country, Billings Sound, or Dinobilly
Common elements of the genre include:
- Themes of exploration, knowledge, and (re)discovery, such as of the past or of oneself, as well as an optimistic tone towards science and progress.
- Imagery and motifs of:
- Skeletons and bones
- Birds, burrowing rodents, bugs, and reptiles like snakes, due to all being associated with prehistory and/or digging in some way.
- Quarries and mining.
- Local/County museums and history.
- Roadside attractions and iconography, mostly those of dinosaur statues.
- Use of rhythmic percussions and strings to simulate rocks being split by rock hammers or jack hammers to find fossils, or perhaps to evoke sounds dinosaurs or large prehistoric mammals made as they walked, or maybe native american drumbeats.
[1] Also known as Fossil Country, Billings Sound, or Dinobilly
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This one is very minor, but I thought it'd be interesting to mention.
Hitler Analogue- Stories that revolve around a Hitler-like character developing from different cultures, ethnicities, races, etc. While the actions of these fictional characters are to be condemned, what makes them curious is how they became the human embodiment of evil in their respective universes.
[Examples: Jacob Featherston from TL-191 and Faruq Al-Ghaznavi from Through Darkest Europe]
Hitler Analogue- Stories that revolve around a Hitler-like character developing from different cultures, ethnicities, races, etc. While the actions of these fictional characters are to be condemned, what makes them curious is how they became the human embodiment of evil in their respective universes.
[Examples: Jacob Featherston from TL-191 and Faruq Al-Ghaznavi from Through Darkest Europe]