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Biden, Swift, the Super Bowl and the power of escapism

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Biden, Swift, the Super Bowl and the power of escapism

Super Bowl LVIII delivered a tight and exciting game between the 49ers and the Chiefs. Hilarious commercials included Kate McKinnon and a cat shilling Hellmann‘s mayo, and Ben Affleck dancing like an idiot for Dunkin’ Donuts. Usher delivered a halftime show … on roller skates.

Social media brimmed with a wide range of emotions triggered by Taylor Swift and Travis Kelce’s romance, many of the comments from adults still haunted by high school memories of worshiping and/or hating the untouchable Queen and King of the prom. I’d rather dance with a live rail than return to that tortuous chapter of life.

President Biden even jumped into the fray. A post popped up on his X account right after the Chiefs’ win. It’s a portrait of POTUS, eyes glowing like an alien, with the caption “Just like we drew it up.”

The well-timed joke was a response to the MAGA-verse conspiracy theory that the Democrats and the NFL were somehow in cahoots, and with the help of Swift, would rig the game in favor of Kelce’s Chiefs. By doing so, they’d throw the election to Biden come November.

If none of that makes sense, congratulations. You haven’t been indoctrinated. Yet.

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Kansas City Chiefs tight end Travis Kelce (87) embraces Taylor Swift after defeating the San Francisco 49ers at Super Bowl 58 on Sunday.

(David Becker / Associated Press)

In short, Sunday was a welcome day of escapism grounded in the safety of tradition, bolstered by permission to devour Doritos Blazin’ Buffalo and Ranch, a food product that should be forbidden any other day of the year. It was a break from the everyday grind, and such respites feel few and far between these days.

Keeping up with the news or cultural churn is tantamount to placing one’s self in a torturous James Bond escape scenario — sealed in a room where the walls are closing in slowly, or strapped to a table as a hot laser advances toward your groin. But 007 always escapes these situations thanks to his tech genius, Q. The rest of us have to rely on other measures for escape, be it shutting down entirely or following wackadoo “insight” from another guy named Q.

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Remaining consistently tuned in requires a constitution of steel, or sociopathic levels of disconnect amid the onslaught of news: the forthcoming election, climate change, Ukraine and a drought that never seems to be over no matter how much rain dumps on SoCal.

And let’s not get started on the staggering number of cases in courtrooms across the U.S. where the fate of democracy depends on nonpartisan judges deciding what’s best for the people, as opposed to the party or leader who gave them the job.

It’s no wonder why “taking a break from the news” has become such a common refrain among friends and family.

Consider events that have unfolded since Sunday’s kickoff: At least 67 more people were killed by Israeli forces in Rafah, where more than 1 million Palestinians have fled to escape the bombardment across the rest of Gaza. Two hostages were recovered by the IDF, according to Israeli forces, but more than 100 are still being held by Hamas after they were kidnapped during the group’s Oct. 7 attack in southern Israel that left 1,200 people dead. The death toll in the Palestinian territory has surpassed 28,000 souls, according Gaza’s Health Ministry.

In Super Bowl terms, that’s nearly half the capacity crowd at Las Vegas’ Allegiant Stadium.

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There’s no judgment here on those who need to step away from soul-crushing updates in the name of self-preservation. I do it too … when I can. There’s only so much I can take before becoming mentally immobilized by what I see as an overwhelming lack of humanity, reason and fairness. But that withdrawal comes with pangs of guilt for being privileged and safe enough to mentally disengage, unlike innocent civilians in Gaza, Israel, Ukraine or dozens of other spots where folks are suffering. The U.S.-Mexico border comes to mind.

The Committee to Protect Journalists reports that at least 85 journalists and media workers have been killed covering the Hamas-Israeli war. That’s more journalists lost in 128 days than were killed during the entirety of the Vietnam War.

Sorry to bring such brutal reality into a column that kicked off with the promise of discussing football, pop stars and junk food. But nothing exists in a vacuum, even if we wish that were the case.

Which poses a question: At what point does avoiding bad news become apathy, or worse, buying into baseless conspiracies to avoid unpleasant facts?

If I knew, I wouldn’t be struggling with the answer in front of your reading eyes. But one thing is sure: It’s OK to step back when it all becomes too much. Even if that means indulging in the Hallmark romance of a singer and sports star. Just don’t stay there too long.

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

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According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

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Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

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‘Hoppers’ review: Pixar’s best original movie in years

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‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway. 

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

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That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged. 

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

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HOPPERS opens in theaters Friday, March 6th.

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