Noticias

Things are getting real at MTV. The 32nd season of its Real World TV series, Real World Seattle: Bad Blood, premieres on MTV, Wednesday, October 12, 2016 at 10:00pm Et/Pt. MTV says the show is about to spill some "unbelievably bad blood." This season features seven new roomies surprised to learn that seven additional roommates are crashing the loft, with whom they have troubled histories.The Real World Seattle: Bad Blood cast includes: Anika Walker, Will Groomes, Jordan Anderson, Orlana Russell, Katrina Stack, Anna Stack, Mike Crescenzo, Peter Romeo, Robbie Padovano, Jennifer Geoghan, Theo Bradley, Kassius Bass, Tyara Hooks (Tya), and Kim Johannson. Get the details from this MTV press release. Read More…...

There's bad blood between this set of roommates!

On the upcoming season of MTV's Real World Seattle: Bad Blood, seven strangers move into an upscale loft in the city's Capitol Hill neighborhood with the hope of a new chapter – but they aren't prepared for the other seven roommates that will be making a debut.

Premiering this fall, the roommates on season 32 will be given the opportunity to revisit a difficult relationship in their lives.

As exes, rivals and estranged family members from the roommates' pasts settle into the home, the 14 are forced to learn to co-exist and address their conflicts.

There's bad blood between this set of roommates! On the upcoming season of MTV's Real World Seattle: Bad Blood, seven strangers move into an upscale loft in the city's Capitol Hill neighborhood with the hope of a new chapter - but they aren't prepared for the other seven roommates that will be making a debut. Premiering this fall, the roommates on season 32 will be given the opportunity to revisit a difficult relationship in their lives. As exes, rivals and estranged family members from the roommates' pasts settle into the home, the 14 are forced to learn to co-exist and address their conflicts.

Back in August, I released a mix tape consisting of the best tracks, from the best movie soundtracks and best scores of the first half of 2014. This here, is the entire mix consisting of the best songs heard in movies all year long.

Note: If you’ve already heard the first half, simply skip ahead one hour in. Enjoy!

Playlist:

Phase 1

Guardians of the Galaxy Clip

The Band – “The Weight” (Dawn of the Planet of the Apes)

Dawn of the Planet of the Apes Clip

Superhuman – “Where It Ends” (Dawn of the Planet of the Apes)

Alexandre Desplat – “Godzilla Main Theme”

Marco Beltrami – “We Go Forward” (Snowpiercer)

Snowpiercer Clip

Hot Blood – “Soul Dracula” (Only Lovers Left Alive)

Only Lovers Left Alive Clip

James Brown – “Papas Got A Brand New Bag” (Get On Up: The James Brown Story)

Get On Up Movie Clip

Elvis Presley – “You’re the Devil in Disquise...

I’m back with another mix tape, only this time the compilation consists solely of the best music from movies released in 2014 (January to the end of August). As per usual, I’ve also included some fun movie clips. Here are tracks from the best soundtracks and scores of the year so far. Be sure to check back in December for part two.

Playlist:

Phase 1

Guardians of the Galaxy Clip

The Band – “The Weight” (Dawn of the Planet of the Apes)

Dawn of the Planet of the Apes Clip

Superhuman – “Where It Ends” (Dawn of the Planet of the Apes)

Alexandre Desplat – “Godzilla Main Theme”

Marco Beltrami – “We Go Forward” (Snowpiercer)

Snowpiercer Clip

Hot Blood – “Soul Dracula” (Only Lovers Left Alive)

Only Lovers Left Alive Clip

James Brown – “Papas Got A Brand New Bag” (Get On Up: The James Brown Story)

Get On Up Movie Clip

Elvis Presley – “You’re...

That Obscure Object Of Desire screens tonight at Bam as part of their Buñuel retrospective, July 11 - August 14).

Pauline Kael may have dubbed David Lynch “the first popular surrealist,” but the honor is more accurately bestowed upon Spanish maestro Luis Buñuel. Though his Salvador Dalí collaboration, Un chien andalou (1929), is regarded as a touchstone of the movement, it was not until later in his career that Buñuel would exploit the very meaning of the surreal, brashly straying from his contemporaries’ aesthetically driven impulses. With the respectively never-ending and never-beginning dinner parties of his elliptical masterpieces The Exterminating Angel (1962) and The Discreet Charm of the Bourgeoisie (1972), Buñuel’s breed of Surrealism drew itself so close to the upper middle-class quotidian, it became far more subversive than any old melting clock. The conceptual hysteria of his films is in turn grounded by a simplified mise-en-scène; the surroundings are such that any outlandish yarn appears rooted in reality.

Perhaps it's only natural that horror's rise in popularity – in film as well as books – tends to mirror that of the Conservative party

In May 2001, Margaret Thatcher gave a speech to a gathering of Tories in Plymouth. She told the party faithful: "I was told beforehand my arrival was unscheduled, but on the way here I passed a local cinema and it turns out you were expecting me after all. The billboard read The Mummy Returns."

A joke, perhaps, but one that shouldn't be dismissed too lightly, because as the horror genre enjoys one of its shambling, cyclical returns to form, could it possibly be that such spikes in supernatural fiction's popularity do, in fact, coincide with Conservative gains on the UK's political battlefield?

A cursory glance at the points where horror fiction did enjoy periods of resurgence do tend to follow an upward graph with Tory fortunes. For example,...

“I didn’t know who to believe—my parents or the television set.” — We Can’t Go Home Again ('73 cut)

“On the one hand, Ray has a knack for disrupting smooth sequences with odd interpolations… a sense of trying to carve out some space for immediacy and spontaneity inside institutionalized patterns of construction. But against this is a proclivity for heavy symbolic underlining and general schematization, which place the individual movements of the films within thickly determined contours” — B. Kite, Bigger Than Life: Somewhere in Suburbia

“Salvation is a private affair.” — Jacques Rivette, On Imagination

Some thoughts crystallized around We Can’t Go Home Again.

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In retrospect, Nicholas Ray can seem as much like the last great Hollywood romantic as the first serious parodist of a generation, Godard, Oshima, Ruiz, still to come: anatomizing genre structure and hallmarks not to show the extension of personal philosophy into any...