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For beloved conductor Michael Tilson Thomas, a final bow from the podium

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For beloved conductor Michael Tilson Thomas, a final bow from the podium

San Francisco Mayor Daniel Lurie had declared it Michael Tilson Thomas Day. City Hall glowed MTT’s trademark blue. Davies Symphony Hall, where Tilson Thomas presided over the San Francisco Symphony for an influential quarter century, was festooned with giant blue balloons.

For Tilson Thomas, it all was the culmination of what he declared in February: “We all get to say the old show business expression, ‘It’s a wrap.’”

Despite starting treatment for an aggressive form of brain cancer in summer 2021, Tilson Thomas astonishingly continued to conduct throughout the U.S. and even in Europe for the next three and a half years. But in February he learned that the tumor had returned, and the conductor declared last Saturday night’s San Francisco Symphony gala, billed as an 80th tribute to this native Angeleno, would be his last public appearance.

He was led to the podium by his husband, Joshua Robison, who remained seated on stage, keeping a watchful eye. Tilson Thomas started with Benjamin Britten’s Variations and Fugue on a Theme by Purcell, better known as “The Young Person’s Guide to the Orchestra.” After various tributes and performances in his honor, MTT, ever the great showman, went out with a bang, leading a triumphant and mystical and stunningly glorious performance of Respighi’s splashy “Roman Festivals.”

A song from Leonard Bernstein’s “On the Town” — including the line “Where has the time all gone to?” — followed as an encore, sung by guest singers and the San Francisco Symphony Chorus, just before balloons joyfully fell from above.

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For six decades, beginning with his undergraduate years at USC — where he attracted the attention of Igor Stravinsky, Aaron Copland, Jascha Heifetz, Gregor Piatigorsky and the odd rock ‘n’ roll musician about town — Tilson Thomas has been a joy-making key figure in American music.

To pin MTT down is an unreasonable task. He saw a bigger picture than any great American conductor before him — his mentor and champion, Bernstein, included. With a pioneering sense of eclecticism, he connected the dots between John Cage and James Brown, between Mahler and MTT’s famous grandfather, Boris Thomashefsky, a star of the New York Yiddish theater.

Tilson Thomas has nurtured generations of young musicians and given voice to outsiders greatly responsible for American music becoming what it is. He treated mavericks as icons — Meredith Monk and Lou Harrison among them.

The San Francisco concert could touch on little of this, but it did reveal something of what makes MTT tick. In “Young Person’s Guide,” for instance, Tilson Thomas demonstrated an undying love of every aspect of the orchestra as well as his lifelong devotion to education. As a 25-year-old Boston Symphony assistant conductor, he was speaking to audiences, sharing enthusiasm that not all uptight Bostonians were quite ready for.

Not long after, he succeeded Bernstein in the New York Philharmonic Young People’s Concerts. He made television and radio documentaries. In 1987, he founded the New World Symphony in Miami Beach, training orchestra musicians. Alumni are now busy reinventing American orchestral life. In L.A., former New World violinist Shalini Vijayan curates the imaginative Koreatown new music series Tuesdays @ Monk Space.

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With the young conductor Teddy Abrams at his side turning pages, Tilson Thomas treated “Young Person’s Guide” more as a seasoned player’s guide to the orchestra. A hallmark of Tilson Thomas’ tenure in San Francisco had been to encourage a degree of free expression typically stifled in ensemble playing. Britten’s score is a riot of solos, and this time around they all seemed to be saying, in so many notes: “This is for you Michael.”

Michael Tilson Thomas conduct’s Britten’s ‘Variations and Fugue on a Theme of Purcell’ to open his gala concert with the San Francisco Symphony at Davies Symphony Hall.

(Stefan Cohen / San Francisco Symphony)

This is for you, Michael, as was all else that followed. While Tilson Thomas sat in a chair at the front of the stage looking at the orchestra, Abrams — music director of the Louisville Orchestra and a Berkeley native who began studying at age 9 with Tilson Thomas — led the rousing overture to Joseph Rumshinsky’s Yiddish theater comedy, “Khantshe in Amerike.” Bessie Thomashefsky, Tilson Thomas’ grandmother, was the original Khantshe in 1915.

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Throughout his career Tilson Thomas has been an active composer, but only in recent years had he finally began more actively releasing his pensive and wistful songs that served as informal entrees in a private journal. Mezzo soprano Sasha Cooke led off with “Immer Wieder” to a poem by Rilke. Frederica von Stade, still vibrant-sounding at 79, joined her for “Not Everyone Thinks I’m Beautiful.”

The two songs tenor Ben Jones turned to, “Drift Off to Sleep” and “Answered Prayers,” were moving odes to melancholy. The Broadway singer Jessica Vosk — whose career in show business was launched when Tilson Thomas picked her out of the San Francisco Symphony Chorus to be a soloist in “West Side Story” — lifted spirits with “Take Back Your Mink” from “Guys and Dolls,” but then reminded us why we were all there with Tilson Thomas’ “Sentimental Again.”

Cooke sang “Grace,” which Tilson Thomas wrote for Bernstein’s 70th birthday but which here took on a brave new meaning in its final stanza: “Make us grateful whatever comes next / In this life on earth we’re sharing / For the truth is / Life is good.”

Edwin Outwater, who got his start as an assistant conductor to Tilson Thomas in San Francisco, led the inspirational finale of Bernstein’s “Chichester Psalms” before Tilson Thomas returned to raise the roof with “Roman Festivals.”

Respighi’s evocations of gladiators at the Circus Maximus, of early Christian pilgrims and other scenes of ancient Roman life, seem a surprisingly odd epilogue to an all-American conductor’s storied career. But Tilson Thomas has always been an arresting programmer, even in his 20s when he served as music director of the Ojai festival. “Roman Festivals” has long been a Tilson Thomas favorite. He recorded it with the L.A. Phil in 1978, relishing the details of ancient Rome in all its intricate and realistic complexity.

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This last time, Tilson Thomas offered an epic, yet longing, look back. Trumpets blared with startlingly loud majesty. Pilgrims were lost in stunning meditative refinement. In the last of the four festivals, “The Epiphany,” grace and grandeur merged as one, with final, firm orchestral punctuation massively powerful. It was as if Tilson Thomas was saying to the audience, “This one is for you. And I’m still here saying it.”

Tilson Thomas has made a practice of musing about what happens when the music stops. What is left? How long does the music stay with us, somewhere inside? Can it change us? Does it matter?

From the instant Tilson Thomas became music director of the San Francisco Symphony in 1995, he treated the orchestra as an essential component of San Francisco life. His successor, Esa-Pekka Salonen, has taken that to heart with the kind of innovatory spirit that he had brought to the L.A. Phil. The orchestra’s management has not, however, provided needed support, and Salonen is leaving in June. Musicians stood outside Davies handing out fliers to the audience demanding that the orchestra pursue Tilson Thomas’ mission.

The San Francisco Symphony has reached a turning point. Respighi wrote of “The Epiphany” that he wanted frantic clamor and intoxicating noise, expressing the popular feeling “We are Romans, let us pass!” Tilson Thomas beat out those three emphatic staccato orchestral chords — Let! Us! Pass! — as though meant to ring and ring and ring, as lasting as centuries-old Roman monuments.

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Movie Reviews

Good Luck, Have Fun, Don’t Die Movie Review (Spoiler-Free) > Fandom Spotlite

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Good Luck, Have Fun, Don’t Die Movie Review (Spoiler-Free) > Fandom Spotlite

Claiming to be from the future, a man takes hostages at a Los Angeles diner to recruit unlikely heroes to help him save the world. The newest movie from director Gore Verbinski is not only one of the best of the year so far, but it is also one of the most fun you will have in a theatre in recent memory. 

There is honestly so much to say about this movie, but saying too much would definitely spoil things, and this is the type of movie you want to go in blind if you could. Having said that, this is going to be a shorter review. Still, there are plenty of things to acknowledge about this one.  We have seen so many movies showing us a future where technology takes over the world. That is nothing new. However, the well-written script, amazing cast of characters, and the current topic of AI really set this film apart from the rest. 

Sam Rockwell is excellent as the lead character from the future looking for a group of civilians to help save the world. The action starts right away as we realize that this guy has tried to save the world from AI several times with a different group each time, and failing each time. He has yet to find the perfect combination of help. Our cast of characters this time around includes  Michael Peña, Zazie Beetz, Juno Temple, and Haley Lu Richardson. Everyone is so good in their roles, specifically Richardson and Temple, proving that they can handle the serious moments as well as the more comedic ones. 

How Does it Make You Feel?

There are several different ways to review or critique a movie. Some movies get just about everything right from a technical angle, but still won’t please folks. Some movies get everything wrong from a technical aspect, and it will be someone’s favorite thing. When I review films, I try to be 50/50 to give them a fair chance. Is the movie well-made, and does it leave me feeling anything? While many movies lean more one way than the other, Good Luck, Have Fun, Don’t Die manages to please on all accounts. 

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The movie is shot well with tons of amazing set pieces. The characters are likeable and developed enough that you truly care about them, and the script is so original that it truly left me not knowing where the movie was going next. Verbinski had previously directed Pirates of the Caribbean and The Ring: two completely different movies and tones, but both very successful. Verbinski really shows his range in this new movie. He manages to capture both tones of horror and comedy in this film perfectly while sprinkling in a few other ones as well. 

The movie is so successful at making you laugh one moment, then leaving you uncomfortable and on the edge of your seat in the next. I will not spoil anything, but there are a couple of scenes in this movie that, if they were in another film, they just wouldn’t work. They are either too weird or too controversial. Current topics in real life are played for satire in this film, and these scenes pack a punch for sure. 

The movie is also very smart in how it tackles the idea of AI. The goal of this movie isn’t to completely erase technology or the use of AI. The movie is smart enough to know that AI is already here to stay, whether people like it or not. The heroes are not here to destroy it, but rather find a way to control it responsibly so that we have a world where people can be aware of what is reality and what isn’t. This was such an intelligent and fascinating way to handle things.

Overall

Good Luck, Have Fun, Don’t Die is the best movie I have seen so far this year and probably the most entertained I have been at the movies in some time. It is an original Sci Fi comedy that has a lot to say without being preachy. It is truly a trip that feels like an old-school adventure film full of rich characters and excitement. It is truly a shame that this movie hasn’t received more screenings, but if there is one local to you, you owe it to yourself to check it out. 

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Eric Dane’s final thoughts in Netflix’s ‘Famous Last Words’: ‘I was absolutely more than enough’

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Eric Dane’s final thoughts in Netflix’s ‘Famous Last Words’: ‘I was absolutely more than enough’

Eric Dane said he first shut down emotionally at just 7 years old, when navigating his father’s sudden death from a gunshot wound in a bathroom at his family’s home.

It wasn’t until his diagnosis with ALS decades later that the seasoned actor felt his own spirit return, Dane said in an interview released Friday on Netflix. The actor died Thursday at 53 following a public battle with the disease. The nearly hour-long interview, filmed in November, is part of the docuseries “Famous Last Words,” which features posthumous interviews with notable figures — the first centered on conservationist Jane Goodall and released two days after her death.

The actor spoke candidly about his debilitating disease, saying it “made me a little bit softer, a little bit more open.” The intimate conversation was conducted by television producer Brad Falchuk, who executive produces “Famous Last Words.”

“All I’m left with is me,” Dane said. “It’s kind of a f— up way of realizing that you were enough the whole time, when everything gets taken away and all you have left is this person.”

In the episode, Dane’s speech is noticeably slurred, and he sits in a motorized wheelchair while speaking to Falchuk. He’s thoughtful and responsive throughout as he reflects on his life and career, which spanned more than three decades.

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“I didn’t think this was gonna be the end of the road for me. This was never part of the story I created for myself,” Dane said.

The actor described himself as a complainer during the interview, adding that he’s “always historically been the guy that would b— and moan on his way to doing anything, but my spirit has been surprisingly pretty buoyant throughout this journey.”

A final message to his daughters

Dane stared straight into the camera in the last few minutes of the Netflix special, his voice wavering when tears welled up in his eyes. He directed his parting words to his two daughters, Billie, 15, and Georgia, 14, sharing four lessons he’s learned from ALS.

“Billie and Georgia, you are my heart. You are my everything. Good night. I love you. Those are my last words,” Dane said.

Dane married Rebecca Gayheart, the mother of his children, in 2004 and the couple separated in 2017, though the divorce was never finalized. They maintained a friendship after their separation, though, and Dane said he had “never fallen in love with another woman as deeply as I fell in love with Rebecca.”

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Dane said he spent most of his life “wallowing and worrying in self-pity, shame and doubt.” But with ALS, he was “forced to stay in the present,” he said, which he encouraged his daughters to do.

Eric Dane, left, in conversation with Brad Falchuk on “Famous Last Words.”

(Courtesy of Netflix)

“I don’t want to be anywhere else. The past contains regrets. The future remains unknown, so you have to live now,” Dane said. “The present is all you have. Treasure it. Cherish every moment.”

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Dane also encouraged his daughters to fall in love, not just with people, but with something “that makes you want to get up in the morning,” he said. For Dane, that love was acting, which “eventually got me through my darkest hours, my darkest days, my darkest year,” he said.

The actor, who was open about his struggles with addiction, had been sober for nine years before slipping back into drug and alcohol use during a writer’s strike that halted “Grey’s Anatomy” production in 2007.

Dane told his daughters they inherited his resilience and urged them to “fight with every ounce of your being, and with dignity.”

Dane added: “This disease is slowly taking my body, but it will never take my spirit.”

ALS diagnosis brought peace

Aside from throwing a few punches to people who “deserved it,” Dane said he had no crazy confessions to make as the interview came to a close.

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“I’ve never murdered anyone, Brad,” the actor joked to Falchuk.

The actor assured he lived a life full of fun, whether healthy or unhealthy. His fruitful career took off with his role as Dr. Mark “McSteamy” Sloan in “Grey’s Anatomy.” The gig started as a one-time guest role but “ignited a fan hysteria so intense,” Falchuk said, that the show was rewritten to make Dane a leading man.

Dane further cemented his legacy when he portrayed Cal Jacobs in “Euphoria,” a complicated character who leads a double life, which Dane said he related to. “I know what it’s like to not have my inside match my outside,” he said, referencing his long-standing battle with drugs and alcohol addiction.

His ALS diagnosis freed him from a constant state of self-judgment, Dane said, and helped him realize that he was always “absolutely more than enough.”

“I hope I’ve demonstrated that you can face anything. You can face the end of your days, you can face hell, with dignity,” he said.

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Gore Galore: Stuart Ortiz’s ‘STRANGE HARVEST’ (2024) – Movie Review – PopHorror

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Gore Galore: Stuart Ortiz’s ‘STRANGE HARVEST’ (2024) – Movie Review – PopHorror

I happen to find detective shows boring; they just never thrilled me. I have long grown apart from it, but as a kid, I studied a lot about different serial killers. None of it fit my style of seeing real crime scene photos that don’t hold back. With that in mind, Strange Harvest is several stories in one.

Let’s get into the review.

Synopsis

Detectives are thrust into a chilling hunt for “Mr. Shiny”-a sadistic serial killer from the past whose return marks the beginning of a new wave of grotesque, otherworldly crimes tied to a dark cosmic force.

With FX that would impress even Tom Savini himself, the film really grew on me. At first, I was unimpressed, thinking it was the usual cops and robbers type movie. However, the film quickly grabbed my attention. From the first few minutes, I was really excited to watch. The very first crime scene photos were life-changing in a movie or show quite like this.  Strange Harvest became even better as we got further into the film. Besides the dead bodies, the film really did make me feel as if this were a true story. The realism caught me off guard, and oftentimes, I found something to trigger me.

Though there were some really uncomfortanle scenes that broke the unwritten horror rules. The film quickly sucked me back in, however. The entire premise could easily happen to anyone; we already know the big names of serial killer history, but not the ones, such as this, that fly under the radar. They happen every day, somewhere in the world. So we already know the evil minds still exist today. Strange Harvest actually spooked me quite a bit. It was a good thing I watched it with the lights on, because some parts of the movie made me sleep with one eye open, watching the window all night.

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The last film that got into my head was the first Paranormal Activity. Strange Harvest not only made me paranoid, but I was also afraid for days. Strange Harvest was one step away from intrusive thoughts; however, the film impressed me with fear. This wasn’t some heavy-footed steps; this was realism, and normally I hate those types of films. It was made for you to feel uncomfortable, but it also doesn’t blur the line between realism and fantasy.

In The End

In the end, I really enjoyed the film. It gave me a new view on detective-related shows and films. Strange Harvest is going into my list of movies in rotation when I work and need a great background noise; a perception that I loved this, but not too many others. I know there are some movies with masked villains chasing someone around with an array of tools and tricks. I easily recommend this film, which you can find on Hulu.

Heed my warning, however, because you are about to enter a new world. A world that should stick to the horror genre forever. Maybe I am hyping it up just a tad, but it doesn’t keep me from being a fan.

 

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