DeMond Nason found domino artwork after getting his coronary heart damaged.
“I used to be going by YouTube clips looking for one thing to consolation a damaged soul,” recalled Nason, a San Diego native now primarily based in Brooklyn, N.Y. “I got here throughout these domino drops and there was one thing simply so tranquil about them.”
After expressing his curiosity in attempting dominoes himself on social media, a buddy and veteran domino artist reached out to ask Nason to affix him.
“There’s an exquisite launch to the artwork kind that’s an enormous pull for me,” stated Nason, who has expertise performing in Broadway nationwide excursions and off-Broadway reveals. “A part of [domino] artwork is the autumn, that’s what I like about it. You’re constructing one thing, and then you definitely [topple] it over and you progress to your subsequent canvas. … I actually use the artwork as a type of psychological well being, as a type of meditating and releasing the stress.”
Now, nonetheless, Nason is including the stress of competitors to his dominoes — he’s among the many domino artists vying for the highest prize in Fox’s “Domino Masters,” a actuality competitors collection premiering Wednesday. Hosted by “Fashionable Household” alum Eric Stonestreet, the present will see 16 groups of three compete in a event for an $100,000 money prize in addition to the title of Domino Masters.
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Much like different artistic competitions, every week 4 groups will probably be introduced with a theme and given a set time to finish their domino builds. Their aim is to make use of the 16 hours to assemble an enormous piece to impress the panel of judges, comprised of actor and mathematician Danica McKellar, former NFL participant and artwork fanatic Vernon Davis {and professional} domino and chain response artist Steve Value.
However not like most different artwork kinds which are proven in competitors reveals, dominoes are kinetic. The artwork is not only within the accomplished buildings which are constructed, but in addition in the best way they topple, or the sequence because the bricks tumble down.
“The distinction between dominoes from some other constructing pastime is that ultimately, it strikes,” stated Michael Fantauzzo, who’s competing on the present along with his cousin Matt VanVleck and buddy Doug Pieschel as group Again Breakers. “It does one thing utterly by itself, relying each on physics and artistry, to make one thing that’s actually distinctive. There’s simply nothing that’s fairly prefer it.”
Each the artistic prospects and the fun of a profitable topple are among the many signature parts of the medium that appeals to those domino artists.
“I like the concept this artwork isn’t a nonetheless body,” stated Emma Renner, a techniques engineer who’s a part of group Brains and Brawn. “The artwork is within the full journey and means of it. The artwork begins whenever you put that first domino down, after which each domino — typically it’s 50, typically it’s a whole lot, typically it’s tens of hundreds of dominoes you’re placing down for one mission — each domino is purposeful.”
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These greater domino tasks are greater than only a lengthy line of single-row bricks tumbling over. Advanced domino tasks, like these showcased within the competitors, incorporate methods like domino fields and partitions — that are two-dimensional domino planes created by aligning bricks horizontally on the bottom or stacking them vertically, respectively — in addition to 3-D buildings constructed from dominoes and different artistic chain response tips.
A sports-themed domino piece in “Domino Masters.”
(Ray Mickshaw / FOX)
“Each domino artist has a distinct model,” stated Scott Suko, a veteran domino artist competing with a group named the OG Topplers. “Some individuals love to do stunning painting-like patterns on the ground. Different individuals love to do extra Rube Goldberg parts.”
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Suko, who first turned fascinated by domino artwork after watching a world record-breaking domino topple in 1979, considers himself “an old-school domino toppler” who often makes use of principally picket dominoes in his tasks. (Dominoes made out of different supplies like plastic are extra generally favored by newer domino artists.)
“I like to attach them to basic picket toys,” stated Suko, whose buddy and teammate, Paul Nelson, is the domino artist that invited Nason to his first topple. “I work all kinds of toys and video games into [pieces] and make them transfer below the management of the dominoes. … I actually just like the forwards and backwards between dominoes falling, previous basic picket toy transferring, dominoes going up staircases, one thing sliding down a zipline, dominoes launching balloons. It’s only one factor after one other. It makes it type of goofy and enjoyable working these sorts of issues into it.”
Along with totally different tips and methods, nonetheless, the judges on the present are searching for tales instructed by every group’s topples.
“Storytelling was a factor actually pushed by the judges,” stated Renner. “Not solely when it’s simply standing, when your creation is finished earlier than you’ve toppled it, does it must be a narrative, however because it’s falling, the topple of it ought to add extra parts to the story. The sequence must be a narrative.”
“What’s so nice about dominos is you actually have a by line,” stated Nason. “There’s at all times a starting, a center and finish. … The dominoes don’t simply drop in a single massive fall. It’s on a path. You’re capable of create these great tales by the traces of the dominoes.”
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On high of the storytelling parts, resident domino and chain response skilled Value stated as a choose he “was there to be sure that [the teams] challenged themselves” through the use of harder methods.
“I used to be searching for the number of several types of domino and chain response methods used, the number of totally different sizes,” stated Value. He additionally was looking out “for actually good mixtures of chain response tips that have been immediately integrated into the domino methods [and] how effectively [the teams] can mash the 2 worlds collectively.”
A domino novice, for instance, may very well be equally impressed by the pixel artwork of an enormous domino subject as by a construction constructed vertically. However as Value defined, “Regardless that it might include fewer dominoes whole, it’s far more tough to construct as a result of with 3-D buildings, if you happen to make one mistaken transfer, the entire thing will fall.”
Value was additionally searching for ways in which groups might have gotten totally different objects to behave in stunning methods.
A sports-themed domino construct from an episode of “Domino Masters.”
(Ray Mickshaw / Fox)
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Fantauzzo, who first turned fascinated by dominoes when he was 12, can also be drawn to the totally different actions that may be created within the topples.
“Even if you happen to create tons of various photos, tons of different-looking buildings, they’re often going to fall down the identical means,” stated Fantauzzo. “However if you happen to’re intelligent sufficient along with your dominoes, you can also make them fall in insane patterns. You [can] have a circle of buildings, after which all of them fall inward at the very same time. That creates a really satisfying movement for me.”
Fantauzzo additionally enjoys crossover fields, during which the artwork is revealed when the piece’s rows fall in alternating instructions.
Dominoes are a fragile medium, and though skilled domino artists have examined varied reactions and are conversant in totally different design rules and greatest practices, a very profitable topple shouldn’t be assured.
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As a result of the groups are constructing in shut quarters, “when somebody’s [project] by chance topples, it impacts everybody within the room,” stated Renner. “It’s terrible. In case you’re testing one thing and it’s going to sound like a bunch of dominoes falling, it’s important to yell ‘check’ to everybody so in the event that they hear that noise they don’t routinely freak out and mess up what they’re doing.”
Failures and accidents are a part of the training course of for artists like Fantauzzo.
“I movie the whole lot,” stated Fantauzzo. “I can look again on the state of affairs and see ‘OK, why didn’t this work?’ … Being attentive to these fails has made me a greater domino artist.”
Even when issues don’t go as deliberate, “It’s simply dominoes,” harassed Nason. “The cool factor is that we now have extra dominoes. We will rebuild it.”
‘Domino Masters’
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The place: Fox When: 9 p.m. Wednesday Score: TV-PG-L (could also be unsuitable for younger youngsters with an advisory for coarse language)
Robert Eggers’s take on the 1922 F.W. Murnau film “Nosferatu: A Symphony of Horror” has long been a passion project for the director, in various stages of development since he broke out with 2015’s “The Witch.” Now that the film has finally made its way to screens, Eggers has the opportunity to shine. And like any of his films, “Nosferatu” has mood and style to spare.
Eggers’s movies always have great attention to detail, but sometimes the style can outweigh the story and “Nosferatu” is no different. “The Witch” was about setting a moody atmosphere and “The Northman” was about showing off the muscularity in his filmmaking and in between he made arguably his best movie, “The Lighthouse,” which is a bizarre, fever dream kind of experience.
In the first frames of “Nosferatu,” Ellen (Lily-Rose Depp) emerges from the shadows with tears running down her face. She is calling out to something, but nothing is there. What is making her body move in such unpleasant ways? Who is the mysterious voice calling out to her? From the shadows emerges a silhouette of Count Orlok (Bill Skarsgård), who is haunting Ellen.
Years later, Ellen is in a relationship with Thomas (Nicholas Hoult, who is having a busy year between “Nosferatu,” “Juror #2” and “The Order”). Thomas is heading to Transylvania to meet with Count Orlock, foreshadowing a great deal of dread in the movie. Back home, Ellen is not doing well, constantly haunted by the looming presence of Count Orlock, who will not let her know peace.
Not only does Count Orlock hang over Ellen’s life, but his existence hangs over the entire movie. Eggers effectively uses the character sparingly, shooting him in shadows and only revealing his face every so often. It’s best to go into the movie surprised by the design, because Eggers certainly doesn’t settle for recreating the well-established imagery from the original film. Skarsgård, who is becoming a horror film regular, is nowhere to be found in his performance, completely disappearing behind the character.
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Depp delivers the strongest performance of her young career, as she is required to run the gauntlet of emotional and physical pain. Her suffering helps bring some emotion to the movie, which can occasionally feel cold and distant in service of emphasizing the film’s craft. Individual moments of dread feel palpable, but the movie goes through plodding stretches (including with superfluous characters played by Aaron Taylor-Johnson and Emma Corrin; Eggers regular Willem Dafoe also plays a role), where the emotionality of Depp’s performance and the grim appearance of Skarsgård become sorely missed.
Even when the movie is choppy, it’s hard to not get lost in the impeccability of the craft. Egger and cinematographer Jarin Blaschke partially use natural lighting to establish the mood, while production designer Craig Lathrop transports viewers to 1838 Germany. Getting lost in the world of “Nosferatu” isn’t hard — though sometimes being moved by it as a whole is a tough task.
Beyoncé brought her album “Cowboy Carter” to life for the first time in a halftime performance at an NFL game on Christmas Day in her hometown of Houston.
The show, which came midway through the Baltimore Ravens’ rout of the Houston Texans at NRG Stadium, was designed to entice viewers to Netflix as the streaming goliath inaugurated a new pact with America’s most popular professional sports league. It also was a way to bring attention to Beyoncé’s latest LP — a detailed excursion into country music that plays up the singer’s Southern roots — just as Recording Academy members cast their votes for February’s Grammy Awards, where “Cowboy Carter” is nominated for album of the year.
Immediately following her performance, Beyoncé posted a brief video on X that suggested she’ll announce something on Jan. 14 — something, whatever it is, that many more fans now are likely to be looking forward to.
For all its cross-promotional synergy, though, Wednesday’s halftime show was a reminder that whatever lures Beyoncé from her superstar cocoon is worth celebrating: As usual for pop music’s greatest live performer, this 13-minute production — a “ho ho ho-down,” as she called it — was a thrill from top to bottom.
The show began with Beyoncé astride a white horse sauntering down a hallway in NRG’s bowels as she sang “16 Carriages,” her ballad about a youth spent on the road chasing showbiz dreams. Soon she was joined by a quartet of Black female country singers — Tanner Adell, Brittney Spencer, Tiera Kennedy and Reyna Roberts — for a moving rendition of the Beatles’ “Blackbird.”
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Beyoncé emerged onto the stadium field to sing a blistering “Ya Ya,” her version of a classic Tina Turner rave-up, accompanied by a small electric rock band and a huge horn section arrayed on bleachers that called to mind her presentation at the Coachella festival in 2018. Then she did the clubby “My House” before welcoming Shaboozey to join her for “Sweet Honey Buckiin’” and Post Malone for their “Levii’s Jeans” (which they did in front of a pickup truck wrapped in denim).
Beyoncé sang her cover of Dolly Parton’s “Jolene” while riding in a car cruising down the field — not unlike her Coachella tribute to HBCU tradition, this was a loving embodiment of Black rodeo culture — and finished the show with her chart-topping “Texas Hold ’Em,” which she did on the 50-yard line while dancing next to her 12-year-old daughter, Blue Ivy.
Throughout the show, Beyoncé’s vocals were strong and precise, the choreography tough and hard-hitting, the costumes beautifully bedazzled — a Christmas gift to her fans in the form of a marketing opportunity.
Sudeep in ‘Max’.
| Photo Credit: Special Arrangement
Inspector Arjun Mahakshay a.k.a Max takes charge unofficially a day before his suspension ends. A huge blunder inside the station puts Max against powerful men, who come for his life. As he is faced with the improbable task of saving his colleagues and coming out unscathed from the problem, the daring cop pauses to prepare a cup of tea.
Director Vijay Kartikeyaa’s debut project is driven by a protagonist who keeps you guessing about his next move. Even if Max aims to provide unhinged ‘masala’ entertainment, the movie’s leading man isn’t a one-note character. Since the events unfold during one night, and he has limited time to cross a series of hurdles, Max puts his sharp brain to quick use. And once he enters the risky zone of facing the criminals head-on, he unleashes the beast inside him.
Storyline: A day before reporting for duty after a two-month suspension, inspector Arjun Mahakshay faces an unexpected situation. Can he save the day?
Max is a celebration of Sudeep, who oozes style in his aggressive portrayal of an all-conquering officer. If you saw him as a subdued yet classy cop carrying a deep pain within him in Vikrant Rona (2022), Sudeep cuts loose in Max to cater to his fans, who were hungry for ‘mass’ moments involving their favourite star.
The one-man show is great fun to watch to an extent. Director Vijay scripts an old-school world where the hero emerges as the ultimate saviour of distressed people. However, as a whole, Max leaves you wanting more as you expect the protagonist to face the heat of a mighty antagonist.
Sunil, essaying the main villain, is undone by a toothless character. Varalaxmi Sarathkumar’s character of a cop with a negative shade shows promise early on but gets fizzled out eventually as she fails to make any difference to the plot. Right from the beginning, it’s apparent that both the characters are bracing for an inevitable onslaught from Max.
It’s also quite shocking how Max has an almost incompetent team. When they aren’t blindly following the instructions from Max, the junior-level officers are scared and clueless. Ilavarasu, playing an experienced officer, delivers a measured performance. The rest of the cast, including Uggram Manju, Samyuktha Hornad, Sukrutha Wagale and Vijay Chendur, are too loud in their respective portrayals.
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One can’t blame the actors as their characters are designed to artificially amp up the tension. With a highly dramatic plot in hand, the director’s decision to showcase stronger emotions than what’s necessary dents the film.
ALSO READ:‘UI’ movie review: Upendra’s political commentary is a one-of-a-kind experience despite its flaws
The core idea of Max might remind you of Lokesh Kanagaraj’s Kaithi (2019). With so much happening in a short span of time, it’s tough to emotionally invest in the proceedings. On the other hand, Max’s racy screenplay keeps you curious about the events on screen. A superb fusion of Chethan D Souza’s action choreography and Ajaneesh Lokanath’s ensures an adrenaline-pumping experience.
Max is a star vehicle with admirable experiments from the makers. With Vikrant Rona and Max, Sudeep has deviated from traditional commercial films. The big stars of Kannada cinema are seeking change, and that’s a good sign.
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