Scream: Season 1

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In 2015, the Scream franchise was rebranded as a TV show on MTV. My initial reaction to the idea of the show was that my feelings were mixed. On one hand, I actually wanted another movie. Keep in mind, the show was greenlit and started filming and airing well before Wes Craven died. On the other hand, I was kind of glad it was going to be a new cast of characters. They weren't recasting anybody. This kind of exists as its own story. Ultimately, the first season was pretty fun but flawed. The acting in the show was (for the most part) better than it had any right to be. Characters were hit and miss, and most of them didn't feel like they could fully hit their grooves this season, something season 2 simultaneously did better and worse. But, I'll get to that when I review the second season. There were three characters that I honestly enjoyed the hell out of watching by the end of the season. As far as writing, development, and performing goes, Bex-Taylor Klaus as Audrey was probably the best. The other ones I enjoyed were the characters of Brooke and Noah. By the end of the season, I did feel that Jake had gotten a lot stronger overall. But Will, Emma, and Kieran had a little bit of a different reaction from me. These three (especially Kieran) were just kind of meh. The actress playing Emma was fine, but I don't feel that she had a lot to work with. The mystery and story themselves were both decently written, and actually pretty engaging to watch. The kills themselves I had mixed feelings about. A lot of them were very stab-stab. Some of them were creative. But, the biggest issue I have with them is that there wasn't enough of them. Someone might be killed in an episode, and then there would be two or three episodes where no one would die. I know I've said this before, but this is something I think the show Scream Queens handled a lot better. In short, the first season of Scream made for a guilty pleasure show that had its fun elements, but was also deeply, deeply flawed.

B

Linkin Park - A Thousand Suns

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The album opens with an intro track called The Requiem. This is a perfect way to introduce the album. It’s fairly creepy and haunting. It’s actually something that could get you excited for the rest of the album. The next track is called The Radiance. The track is awful. It is completely unnecessary, and serves no purpose to the album. All it feels like is a tacked on introduction. It doesn’t connect to the former track or the next track in any way. As a song, Burning in the Skies doesn’t work nearly as well as it should. Mike Shinoda and Chester Bennington warp their voices to points that they just don’t feel recognizable. The instrumental buildup of the song is good, but the song has not aged well. By the time the 4 minutes of this song are up, it just falls apart. The next track is a 20 second interlude called Empty Spaces. This is a track that feels like it completely embodies this album as a whole. Much like The Radiance, you wouldn’t miss it if it were cut from the album completely. All it is is the sounds of gunshots and war. When They Come for Me is okay at best. Shinoda’s rapping is solid. The instruments start off well enough, but the sound has not aged well. As much as I loved Chester Bennington as a singer, he just doesn’t contribute to this song. Most of what he does is a chanting sound. When he does start singing lyrics, it is the same lyric over and over. Robot Boy is one of those tracks that until I had to listen to it again, I remembered nothing about. I listened to it again just before writing this review. I listened to the album in full a week ago. This isn’t the worst track on the album, but it’s not good either. It is completely forgettable. Jordana del Muerto is another interlude that feels like it doesn’t need to be there. I honestly thought it was just Robot Boy continuing (the most I actually remembered about that track). The problem is that doesn’t make it feel distinct or worth your time. Waiting for the End is the first legitimately good thing on the album since the intro. Chester and Mike feel like the Chester and Mike of the previous albums. The chorus is amazing. The instruments are really good. I really like the song’s slow build and softer feel. Blackout starts out by offering some promise. Then (and I hate to say this) Chester comes in, and sinks the whole song for. This song, to me, represents the worst of what Linkin Park’s attempt at blending their old style and their new style gave us. This song has aged horribly. The warping is atrocious. The instruments that started off all right devolved by the end of the song. On the other hand, Wretches and Kings feels like it was the best blend of the two styles on this album. The one knock I really have against this song is that doesn’t age well. The next track is called Wisdom, Justice and Love. The overall track is just a speech by Martin Luther King, Jr. set to an instrumental backdrop. The thing just kind of gets distorted as the track goes on. I understand what they were trying to do, but I just don’t think the final result works nearly as well as it should have. Iridescent is one of those songs that fellow Linkin Park fans praise, but I never really connected with. Listening to it now, I think this is one of the few songs on the album that time has actually been kind to. It isn’t perfect by any means. I don’t the instruments do enough to really stand out. Mike and Chester both sing on the track. While I do feel Mike’s singing has improved, it still isn’t anything spectacular. The next track is called Fallout. I don’t really have anything to say about this song. It’s another awful interlude with intentionally robotic singing that I don’t care nearly enough about to remember five minutes from now. The next track is The Catalyst. This is the lead single off the album. What else can I say that hasn’t actually been said? This song is amazing. This is what this album should have been. It actually would’ve gotten me excited for this album. Yes, there is repetition, but it really works in terms of the breakdown that song wants to get across. The final track is called The Messenger. This feels more like an acoustic ballad where it sounds like a singer that I actually think is a good singer is intentionally singing poorly. Couple that with the tonal whiplash of going into this following The Catalyst, this album doesn’t so much end on a triumphant note as it does a limp one. Overall, I respect Linkin Park wanting to try something do. There were songs on this album that really showed that A Thousand Suns could have been a fantastic album. The sum of the parts just didn’t add up in the end unfortunately. This is the first time I really remember being disappointed in a project from a band that is a personal favorite.

2.3 / 5

Linkin Park - Minutes to Midnight

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Minutes to Midnight opens with a track called Wake. This is an instrumental track that has the perfect amount of build-up to try and get the listener ready for the album yet to come. It feels more fitting of being its own thing than Foreward did on Meteora. But, it doesn’t hold much connection for me. I think it’s okay as a buildup. It does its job well enough, but I wouldn’t start here if I chose to listen to the album.

Given Up is the song that feels like classic Linkin Park. It has that right level anger and intensity. Similar to the opening track, I think this song does its job good enough, but doesn’t warrant huge replay value from myself. The third track on the album, entitled Leave Out all the Rest is fantastic. The song has a very somber tone to it with Chester Bennington essentially telling his lover “don’t forget or resent me, but remember I was never perfect,” about when he’s gone. That song bleeds right into the track Bleed It Out. This is both one of the chosen singles for the album, and a personal favorite of mine. Mike and Chester work really well together. But, I also want to commend Brad Delson, Dave “Phoenix” Farrell, Joseph Hahn, and Rob Bourdon, as they really help make this song what it is. There’s something about the song Shadow of the Day that doesn’t quite click for me. I don’t know what it is. There isn’t anything inherently bad about this song. Everything on the track is solid, but I never really find myself coming back to it. I firmly believe What I’ve Done is the best song on the album. Like Shadow of the Day, everything just works. The difference for me is that I’ve always been drawn to this song when I’ve chosen to listen to the album. I always sing along whenever I’m listening.  Hands Held High is one of those songs that I feel starts off strong. This is primarily a hip-hop track, where rapper Mike Shinoda (and to a further extent, the band itself) gets a little more political than they have in the past. The last minute or so of the song leads into an issue I have with the song that I will talk about later. The next track is No More Sorrow, which dives right back into the anger and ferocity that Linkin Park is known for. At first, I thought this was just an angry break-up song, but listening the song with twenty-something ears makes me wonder if there’s actually more of a political leaning to this song. Valentine’s Day is another one of those songs that I don’t think is awful, but I honestly feel that it highlights the problems I have with Minutes to Midnight overall. It isn’t the worst thing ever, but it just doesn’t give me much of a connection. Nothing about the song really stands out, even though I know that’s not what was intended. The next track on the album is In Between. I’m not a huge fan of the song. I really think this is the album’s weakest track overall. I think it’s okay lyrically. This is the song I alluded to when talking about Hands Held High. Near the end of the song, he and Chester sing together. On this particular song, Mike sings the whole thing. I really think the song suffers because of it. I just don’t think the carries a tune very well here. In Pieces isn’t really anything special to me as a song. I’ve always liked the song just fine, and really like Chester’s voice on this track. I do think there’s a potential double meaning on this song. I can somewhat hear a political slant to this song. I also hear a potential break-up song behind this. The problem is that I think it feels a little too been-there done-that. The last track I am going to talk about is The Little Things Give You Away. For me, this song sends the album off with a whimper instead of a bang. Chester’s vocals are soft, really showcasing the singer’s range. But, the way this song is structured just makes it feel monotonous. It’s about six and a half minutes long, but listening to it, it feels double the length. Overall, the best way to describe Minutes to Midnight is “good enough.” It’s not awful, but it isn’t something I would personally recommend to someone trying to get into Linkin Park’s music.

3.5 / 5  

Linkin Park - Meteora

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The album opens with a 15 second introduction simply called Foreword. It isn’t bad or anything, but I do think it could have just added to the second track. It’s not really long enough in my opinion to truly warrant being its own thing, but it does segue into the second track nicely enough. Don’t Stay is the second track on the album, and pretty perfectly reintroduces Linkin Park. Chester Bennington practically carries the song vocally. The instrumentation on the song is incredible, excellently blending the electronic feel that will really encompass later on with the sound that made them who they were at the time. Lyrically, the song is fine. There’s nothing inherently bad. The issue is there isn’t really anything about them that stands out. As an example of how to truly make Chester the standout and amplify what Don’t Stay tried to do, look no further than Somewhere I Belong. This is a track that I feel truly shows just how well Chester and Mike Shinoda can balance each other out. This is one of the best songs on the album lyrically, which is why I truly feel this song is considered a classic among Linkin Park fans. Lying From You is a good song on the album with a pretty solid and memorable chorus. It has the difficult task of following Somewhere I Belong, and kind of struggles to stack up in comparison, but that doesn’t make it a bad song by any means. Hit the Floor really is Mike Shinoda’s showcase. Yes, the instruments do a very good job setting up the mood of the song and what you are ultimately in for. Chester Bennington tackles the chorus and has the right level of anger and intensity. The only real issue I have with the song is that, while I think the instruments start off well and good, they ultimately bleed into the background. Easier to Run is a song that feels softer than a lot of what came before. Chester and Mike are quieter than normal. The instruments have a hint of aggression. Even when Chester raises his voice, it doesn’t feel angry. Ultimately, this is a song that seems to be about regret. It feels as though the two are talking about wanting to be better men, but it’s easier to take the coward’s way out. Faint returns to the aggression and anger that the rest of the album (save for Somewhere I Belong) conveys. Similar to Easier to Run and Lying From You, there’s a hint that this song could be about a past relationship. At this point in the album, I really have started to notice just how short a lot of these songs are, most of them clocking right around 2 to 3 minutes in length. Figure.09 has always been one of those songs I’ve liked, but have really put on repeat. Simply put, it just never was one I easily connected with. I’m not fully sure why. Listening to it with adult years doesn’t really change that, unfortunately. I still think this is a good song. It just doesn’t have much replay value for me. Breaking the Habit is one of the two best songs to truly show Chester Bennington at his absolute best. His voice and the instruments work together at their probable best here. This is easily one of the 3 best songs on the album in my opinion. It’s one that I didn’t really appreciate that much when I was in high school, but has really grown on me over the years. I know that Chester Bennington had his struggles with drugs and alcohol. While the song never explicitly says that’s what this song is about, it does make me wonder. From the Inside feels a touch to similar to Easier to Run. It hits a lot of the same beats. It’s a softer, more melodic song that gives Chester and Mike the chance to slow down a little bit (with the occasional dip into anger). Even with Chester actually letting some of his anger loose, I think this is one of the weaker songs on the album. It just feels a little been-there done that without the more intriguing meaning behind some of the other songs on the album. Nobody’s Listening is the song on the album that pumps me up the most. It’s always had a solid repeat value for me. The chorus is pretty damn good in my opinion. But, listening to it again, it’s not a perfect song. Outside of the chorus, the lyrics don’t really leave much of an impression. The instrumentation and mixing is upbeat and matches the song, but it’s not something I ever really think about either. Session is the sole instrumental track on the album. It does have a nice enough blend of electronic and rock. That said, this is the one that has the least replay value for me. It’s a short song, clocking in at 2 and a half minutes, but it feels longer than that. It probably doesn’t help that I honestly feel this is the song that has aged the most poorly. Numb is the final track on the album, and I honestly think they saved the best for last. I feel that there easily could be multiple meanings to gleam from this. This felt like it was one of the ones that had the most time and effort put into it. Overall, Meteora is a solid second album that does progress the band, but isn’t as good as their first effort         

3.9 / 5

Arrow - Season 5

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I've been a fan of this show from the beginning, and I've stuck with it. Season 2 was the peak of the show, offering the absolute best villain of the series (and my personal favorite storyline). Seasons 3 and 4 weren't awful by any means, but they did feel a bit lacking in comparison. Season 5 was easily the best season of the show since the second one. Oliver Queen has to balance being both the mayor and Green Arrow. Prometheus was an excellent villain. Not since season 2 and Deathstroke did we really get a villain who wanted to attack Oliver on a personal level. The character was manipulative, irredeemable, and always ten steps ahead. We also get the return of Earth-2 Laurel Lance a.k.a Black Siren, who is a character I honestly really like. I always did like the original Laurel a.k.a. Black Canary, but I just prefer the more villainous version of the character. My reasoning for this is simple. I just think the character with flexible morals plays better into Katie Cassidy's strengths as an actress. The relationship built up between Thea and Quentin was also fascinating. After his daughter's death in season 4, Quentin's fallen back into alcoholism, while Thea (having dealt with drug addiction) is trying to help build him back up. She goes so far as to hire him on as an assistant while she works in her brother's cabinet. Unfortunately, after that storyline wrapped up, the writers seemed to start struggling with what they could potentially do with the Thea character. Some of the new characters introduced were pretty interesting to me. Lawyer Adrian Chase comes in as a friend to mayor Oliver Queen, and he may be hiding secrets of his own. Rene Ramirez is a new vigilante called "Wilddog." This guy is just incredibly likable. He has tragic backstory that really makes you feel for the character. Ragman was pretty interesting, but he wasn't on the show for very long. Vigilante provided a decent side antagonist to pop up every now and then, even if he was a little bit underused at times. The same can also be said of Talia Al-Ghul. Dinah Drake, the person who takes up the Black Canary mantle this season, was a character I just couldn't warm up to. I don't hate her or anything like that, but I've seen two other characters over the course of the show carry that mantle, and I felt more attachment to those characters The finale was pretty kick-ass, involving pretty much every character that was important this season (save for Ragman and Vigilante). We also get to see Malcolm Merlyn, Nyssa, and Deathstroke play a part. While season 5 has its minor flaws, I do think it is the best season the show has had since season 2.

A-         

Top 50 Favorite Songs (30-21)

#30: What I Got by Sublime: What I Got works because it tells the story of a loser who's just going through his day, and adds a chill beat, alongside laid back instruments.

#29: New Divide by Linkin Park: New Divide has a catchy chorus and an excellent sound. I don't really have much else to say about this song.

#28: Sympathy for the Devil by The Rolling Stones: Sympathy for the Devil is just about what you'd expect. The song is told from the point of view of the devil himself. Lead singer Mick Jagger is what really sells the song for me. He has this delivery that excellently mixes being suave and cool as well as just evil.

#27: Snow (Hey Oh) by Red Hot Chili Peppers: Snow (Hey Oh) is an ode to Anthony Kiedis' favorite drugs (heroin and cocaine). The song takes something that should be ugly and gnarly and makes it beautiful.

#26: Renegade by Styx: This song sounds a lot happier than it actually is. This song tells the story of a criminal who is caught and is on his way to his death. The lyrics and instruments shouldn't necessarily mesh, but it actually seems to work here.

#25: Clint Eastwood by Gorillaz: The band takes on the chorus, sound happy (even oblivious) about the oncoming end of the world. Meanwhile, rapper Del the Funkee Homo sapien takes on the verses, taking the persona of a god-like being.

#24: Jesus Walks by Kanye West: I know what you're thinking. Really? Kanye West? But, if nothing else, I will give the man props for his ability to produce a track. Between that, and the fact that he was willing to go for it on this song, the lead single from his debut album.

#23: Hurt by Johnny Cash: This cover is nothing short of beautiful. Johnny Cash near the end of his life tackles the subject matter in the form of a man whose time is drawing near, and is looking back on his life with contemplation.

#22: Get Lucky by Daft Punk & Pharrell: I don't have a lot to say other than I love just how well Daft Punk's electronic beat and Pharrell's smooth voice go together.

#21: Smells Like Teen Spirit by Nirvana: Are the lyrics nonsensical gibberish? Yeah, sort of. Do I care? Hell no. The song is nothing short of a burst of energy, and I love it.  

Legends of Tomorrow - Season 2

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The second season of Legends of Tomorrow just finished, so I figured what better time to talk about it. This season picks up pretty much where the first season left off. One thing I will say about Legends of Tomorrow is that I like the way they balance the team aspect a little bit more compared to Arrow and, to a lesser extent, The Flash. I have the cast props because they've almost all played these characters for several years. For the most part, the actors feel comfortable in their roles. Effects from the other shows bleed into this season. My favorite aspect of this is shown through the character of Sara Lance. She is sort of thrust into a new place this season (and I personally really liked what they did with her character). She had a lot of inner troubles that she was fored to deal with this season, and I loved that. There were two new legends thrown into the mix this season. I had mixed reactions to them, to say the least. First, there was Nate Heywood / Citizen Steel. He was a character that I warmed up to almost immediately. He was another good-looking nerdy guy (similar to Ray). But, I don't think he was a carbon copy either. I think he was different and rounded enough to stand out. On the other hand, there was Amaya Jiwe / Vixen. It took me a little while to warm up to her. Part of this came from the fact that there was already an established version of the character running around (a version I personally feel was superior). The villains this season were the Legion of Doom. They were pretty damn entertaining to me.I kind of like that they shake things up a little bit each season with the show. They'll introduce characters, give established characters something of an exit. Usually they'll do it with the possibility that the leaving characters could potentially return, if the desire is there. As with most things dealing with time travel, there were some plot holes that probably could've been smoothed over a little bit better than they were. For the most part, this season felt kind of on par with the first season. It's not perfect, but it's still pretty fun.

B     

Top 50 Favorite Songs (40-31)

#40: Stressed Out by twenty one pilots: I love that this song deals with the idea of just wanting to go back to a point in someone's life where they could be carefree, and didn't have to worry about anything. But, as we grow up, we're told different things than we were told when we were children.

#39: Swimming Pools (Drank) by Kendrick Lamar: In a time period where most rap songs that deal with drinking and alcohol present no consequences whatsoever, Swimming Pools (Drank) is somewhat refreshing because it presents the negative side.

#38: American Pie by Don McLean: American Pie effectively deals with two stories, and blurs them together. First and foremost, Don McLean uses the song to address "the day the music died" when Buddy Holly, Ritchie Valens, and the Big Bopper were all killed in a plane crash. He also brings up a story where a jester steals Jesus Christ's crown of thorns.

#37: Yeah! by Usher, Lil Jon, & Ludacris: Somehow, Lil Jon's beat and background hype yells, Usher's voice, and Luda's chilled back rhymes bring this song together to make a fun, catchy listen.

#36: Kryptonite by 3 Doors Down: For someone in my early 20s, Kryptonite is a nostalgic song. I like the singer's darker take in this song about someone's personal Superman going crazy. I also like the comparison in a potential romantic relationship of two people, comparing themselves in their own minds as Superman and Lois Lane.

#35: X Gon' Give It to Ya by DMX: Compared to more complex songs like American Pie, X Gon' Give it to Ya is decidedly simple. But, I love it as an angry haze of a hype song that's pretty easy to work out to.

#34: Hail Mary by 2Pac: Hail Mary has a sort of ominous sound and feel to it. It deals with Pac's death and resurrection (the music video actually was released after the rapper was shot and killed). He then begins to take vengeance out on his enemies. The guest verses on the song aren't bad per se, but they compare to the work that 2Pac himself puts into the track.

#33: The Outsider by A Perfect Circle: A Perfect Circle's The Outsider deals with the narrator talking with someone, clearly wanting to get them help. Whether it's for drugs or suicide is never explained, but I feel like the song works equally with either one.

#32: Killing in the Name by Rage Against the Machine: Given Rage Against the Machine's typically politically charged messages that they pour into every song can just as well be applied to this bombastic track. I could be wrong, but I feel like this song deals with the idea of soldiers in a war that kill, but with no real idea of why.

#31: Seven Nation Army by The White Stripes: I love this song's strumming beats and anthemic feel. Jack White's voice and lyrics compliment the instrumentation that he and Meg White put into the song.

   

Luke Cage: Season 1

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Luke Cage is the newest Marvel Netflix series leading up to The Defenders next year. Much like the previous two Marvel Netflix shows, Luke Cage is fantastic. Mike Colter owns the character of Luke Cage, playing a sort of black Superman, if you will. Luke Cage is just a good guy. He doesn't really want to be a hero, or hoisted on a mantle, but he has to be in order to deal with corruption in his Harlem neighborhood. Mahershala Ali as Cornell 'Cottonmouth' Stokes works spectacularly in the role of a nightclub owner / drug and weapons dealer who has a painting of crowned Biggie Smalls hanging in his office. Alfre Woodard portrays Stokes' cousin, Mariah "Black Mariah" Dillard. She is a Harlem councilwoman that genuinely wants to save Harlem, but also has her own monsters inside that she must contend with. Rosario Dawson reprises her role of Claire Temple. The character feels as though she has progressed, moved forward, and Dawson and Colter have spot-on chemistry. The fairly unknown Simone Missick shines as Misty Knight, giving a performance that could earn her well-deserved recognition. Theo Rossi likened his character of Hernan "Shades" Alvarez to that of Littlefinger from Game of Thrones, and it totally works, to the point that Shades was my favorite villain in the show. All of the main characters feel well-rounded, and are genuinely well-written. The soundtrack is phenomenal, whether it's recreating the sound and style of old-school 1970s shows, or Luke Cage beating bad guys down in hallway to the tune of Wu-Tang Clan. The music always fits the mood. If I have one flaw, there are roughly four or five main villains, and it does feel a touch overcrowded at times. But, that also works, too. I had an idea of where the show was going. Halfway through, something happened, and I had no idea what to expect from that point on. Overall, despite some overcrowding in the villain department, Luke Cage is a great show that I recommend checking out for yourself if you haven't already.

A  

Top 10 Halloween Songs

Take note: these are in no particular order

This Is Halloween

Ghostbusters

Thriller

He's Back (The Man Behind the Mask)

Monster Mash

Living Dead Girl

Don't Fear the Reaper

Time Warp

One, Two, Freddy's Coming For You

A Nightmare on My Street