Entertainment – Hit.Media. Space young journalism

The Evolution of Video Game Music
History, mechanics and philosophy of music for video games

Reading time 13 minutes

Soundtracks have become such an interesting newspaper topic that even the composers are awarded an Oscar for their products. Of these, video game tunes get less attention, although they mainly do contribute to the game’s immersiveness¹.

Background

Pong - the first successful game with sound, 1972 — Pong – the first successful game with sound, 1972

In the 1950s, programmer Jeff Hill created digital music recorded on the CSIRAC computer². Released in 1972, Pong was the first arcade game with sound t a commercial success. In 1979, the first-ever digital audio disc was presented. This phenomenon was noted “chiptune” since the soundtrack was created by an audio chip, usually inside a game console. The first such devices had the very limited sound processors. It was most commonly made with 8-bit music. This 8-bit processor created the melody in real time. In the early 1980s, the IBM personal computer appeared, and a couple of years later, sound cards and synthesizer modules came out. Each module has its own function: some generate sound, others act as a sequencer, others are various sound effects that played and created music in several channels.

In the 1950s, programmer Jeff Hill created digital music recorded on the CSIRAC computer³. Released in 1972, Pong was the first arcade game with sound turned into a commercial success. In 1979, the first-ever digital audio disc was presented. This phenomenon was noted as “chiptune”, since the soundtrack was created via an audio chip, usually inside a game console. The first such devices had very limited sound processors. It was most commonly made with 8-bit⁴ music. This 8-bit processor created the melody in real time. In the early 1980s, the IBM personal computer appeared, and a couple of years later, sound cards⁵ and synthesizer modules[/A synthesizer module is an electronic instrument divided into separate components (modules, blocks)] came out. Each module has its own function: some generate sound, others act as a sequencer⁶, others are various sound effects that play and create music on several channels.

In 1999, when the first music cartridge⁷ for the Game Boy was released, an updated genre of 8-bit music appeared – post-chiptune. It sounded less monotonous and simple, but technically differed little from the first experiments with digital music. Today, 8-bit is a separate genre that exists at the center of the subculture. Thanks to some bands, such as Crystal Castles, this music got a second chance in the 2000s. The creators of such tracks use special programs – trackers. They imitate the sound of chips from old set-top boxes. And 8-bit styled music can be made using modern synthesizers and sequencers.

The monotonous sound did not clash with the simple pixelated graphics of the first Dendy and SEGA games. The monotonous melody was quickly remembered and made the game recognizable. For example, the theme from the Guinness World Records best-selling game, Super Mario, became a symbol of the first console games⁸ of the 1980s. The same thing happened with the Tetris melody, which evokes nostalgia for those born in the 1990s. It is noteworthy that the Russian folk song “Peddlers” was used as the basis for the soundtrack for Tetris, but it became known abroad only in the context of the game as “music from Tetris”.

When discs appeared, the CD partially displaced audio chips, as it allowed tracks to be recorded and transmitted in advance. Sound designers had control over the process, as they could evaluate the finished compositions before they were combined with the game. The track was played directly from the disc, so the limited amount of memory on the set-top box itself is not a problem. Initially, the creators could use well-known songs. By the time, the stricter the licensing became, the stronger the power of composers in the game industry got.

Details

During game development[⁹, it was difficult to turn music into an accompaniment to the player during a chase, gunfight, or secret mission. The sound design also includes background sounds that accompany the action, the audio interface (e.g. in the main menu or when in danger), and character voices.

Music has a particularly important role in evoking emotion for game players. Hence, it must be more adaptable than the soundtracks. The theme of the game should not only set the mood, it must match exactly with the pace of the gameplay¹⁰. You can go through the same episode at different speeds, so writing a finished album from finished tracks will not work. And then the musical units accompanied by games are smaller, which means they better adapt to each player.

The hero of the game Ratchet & Clank: Rift Apart in the club

Most games are unlikely to have time for slow and harmonious scenes and soundtrack transitions. The transitions from one rhythm to another must be done in a couple of seconds, depending on the user. For balanced transitions between episodes of the game, there is a horizontal and vertical convergence. The first occurs quite abruptly, for example, changing the research theme of the battle. The second involves modifying one main theme by speeding it up or slowing it down, increasing or decreasing the volume, and adding instruments. This is more often used not for abrupt movement between locations or tasks, but, for example, as a hint on the way. So, as you approach the nightclub in the game Ratchet & Clank: Rift Apart, the sound of dance beats will increase, new parties are added.

Composer Gustavo Santaolalla in The Last of Us II cameo

Since the game requires dynamic adaptation, the amount of material that the composer needs to write also increases. If this is about 50-70 minutes in the film industry, that is, half of the total running time¹¹, then the duration of the passage of the game varies more, and the amount of sound accompaniment changes along with it. Hence, for The Last of Us II, composer Gustavo Santaolalla wrote about three hours of tracks.

Process

Music for a film or game is more frequently perceived as an accompaniment or an additional design element. Consequently, it seems paradoxical that work on soundtracks begins even before filming, at the stage of the script, or after the creation of a storyboard by game designers.

Once the composers have become familiar with the concept and the intended atmosphere of the game, they choose the direction in which they will develop the sound design. If this is vertical mixing, then you need to set triggers by two properties: at what parameter does the music change and how it changes. It can be affected by location, weather, time of day, level of fatigue or health of the character. Individual musical phrases in vertical mixing, on the other hand, are highly simplified, lack structure, and are sometimes too chaotic. However, this mixing variant, which is most similar to the ambient music genre, is well suited for travel, occasionally interrupted by short fights or tasks. With horizontal mixing, the composer and editors already work with whole compositions, which are divided into several scenes and alternate with each other. As a rule, their triggers are associated with an emotion or a central event in a game sequence. This is a less harmonious way of mixing, since the transitions between musical phrases can be sharp, and the melodies themselves are too long.

Sometimes the game’s sound design also uses stingers – stand-alone compositions that can appear in the middle of vertical mixing. They emphasize important player actions and evoke emotions quickly. Often, they come with replicas of the heroes with commentary on what’s going on.

Nowadays, it is not necessary to specify the time of the next knock of the wheel or the bell of the blade, or the place where the character will hear whispers or birdsong. To do this, there is procedural generation – an artificial intelligence system developed to generate a unique soundtrack for each game from a database of samples¹² created by the composers.

Sounds are selected depending on the scene, location and pace of the game, as well as the state of the character. For example, Rise of the Tomb Raider used Intelligent Music Systems’ dynamic percussion¹³ system for sound design. And in the game No Man’s Sky, for which the band 65 Days of Static wrote a track for 50 minutes, this composition is used as a dataset for artificial intelligence, which selects pieces from there to create a unique track.

Forms

In addition to background accompaniment, music can become part of the gameplay. For example, in Legend of Zelda: The Ocarina of Time, the character can play the instrument to advance to the next level. Buttons with notes on the screen have become a direct element of the game mechanics. In Genshin Impact, which became popular last year, players also have the opportunity to play the Lyre of the Winds by pressing the note symbols. Here, a musical instrument is not needed to complete missions, but serves as an addition to the main gameplay. Sometimes you can not play the music with the character’s hands, but just listen to it. For example, in the arcade¹⁴ game Gris, where the heroine begins to sing at the player’s click, accompanied by an ambient melody.

Turnips instead of heads
How did vegetables become the main attribute of Halloween?

Reading time 5 minutes

Saints’ Day Eve, better known as Halloween, is celebrated on the night of October 31 to November 1 in many countries around the world. Originally a pagan Celtic end-of-summer holiday, it became part of popular culture in the late 19th century when it spread across America. In Russia Halloween came in the 90’s, and although according to surveys only 3% of Russians celebrate it, many people have heard of Halloween in one form or another and are familiar with the traditions that accompany the holiday. In October, specialized decorations appear in shops and themed movies are in theaters.

A mask made for Halloween (Source: museum.ie)

One of the symbols of Halloween is the so-called «Jack lanterns» – lanterns carved from a pumpkin that resemble heads with scary faces. According to Irish legend, where the tradition originated, Miserly Jack was able to trick the devil twice by taking his word not to claim his soul after his death. But when Jack died, Heaven refused to accept him, and the Devil, because of his grudge and the promise he made, kept him from Hell, sending Jack wandering the earth with a smoldering fire that he had put into a carved gourd.

The legend served not only as an educational tale, but also helped explain the «wandering lights», a rare natural phenomenon observed on marshes and cemeteries at night. The flickering light, produced by the inflammation of gases from decomposing organic matter, often led travelers astray – if they started to follow it, they might fall into the mire and drown. The inhabitants of the time believed it to be the work of Stingy Jack, a lost soul trapped between two worlds.

To ward off Jack and other evil spirits entering the land on Halloween night, people began carving their own lanterns, and more often used large turnips, potatoes, radishes and beetroot instead of pumpkins. «Metal lanterns were quite expensive, so people carved root vegetables, – explains Nathan Mannion, senior curator at the EPIC Irish Emigration Museum in Dublin. – Over time, people began to carve faces and drawings so that light could pass through the holes without extinguishing the charcoal».

Although the tradition became widely known thanks to Halloween, Celts from northern Europe have been using round vegetables and fruit to represent human faces since pre-Christian times. There is speculation that this symbolized the severed heads of enemies appearing as spoils of war.

An exhibition of Halloween memorabilia at the National Museum of Ireland (Source: catholicphilly.com)

The carving of lanterns from root crops is only one aspect of the All Saints’ Eve celebrations which date back to ancient times, but many customs have been lost. Celtic priests built huge bonfires, practiced divination rituals and performed rites to keep evil spirits at bay – but because they kept no written records, little is known about these practices.

«Stick it»: it’s all our own fault
The new «W-M» crew begins their flight and looks into why sport is simply absurd

Reading time 11 minutes

With autumn moping sweeping the country, it’s high time we turned to energizing and driving films. On this occasion, today we decided to delve into the world of artistic gymnastics and review «Stick it», starring the feisty Missy Peregrym!

Мисси Перегрим с коллегами по фильму (источник: Кинориум) — Missy Peregrym with her film colleagues (source: Kinorium)

Storyline

A woman’s eye

«Stick it» is based on the story of a strong girl with «sports in her blood». But her parents’ divorce and the disgrace of a previous competition discourage her from aspiring to anything, much less a gymnastics career. The new Haley Graham chooses individuality and freedom to be in control of herself and her life rather than «six hours of daily exercise that kills you». Fun friends, BMX freestyle and a fresh breeze in her head. Soon, however, Haley has to face up to the gritty world of gymnastics and her carefully forgotten past again, because otherwise, she’ll face jail time. It’s up to the heroine to rein in her rebellious spirit and learn some important life lessons. What’s really wrong with the world of artistic gymnastics? What does winning depend on, and what is its true value?

Burt Vickerman and Hayley Graham in the gymnasium, still from the film (source: MoviePlay)

But «Stick it» isn’t really about sport. It’s a film about life, about growing up, about finding your values. The main characters of the film are, first of all, ordinary people, with their personal problems, and only then – strong-willed athletes. Haley tries to cope with the resentment of her mother leaving the family, Joanne dreams of going to the prom, and Burt Vickerman struggles with his greed for victories.

A man’s perspective

The plot is interesting in that, if reversed, you get another stand-alone statement. In the exposition, we see a girl (Haley) completely disillusioned with the sport and finding her place in the skateboarding subculture. She sees sport – in this case, gymnastics – through. And it is extremely difficult to argue with her views: sport is indeed traumatic, both physically and mentally. A bizarre set of circumstances, or rather a choice without a choice (in which she is willing to choose prison and the military academy over returning to gymnastics, but her opinion is ignored) forces her to return to sport and take revenge (on herself or on life?). Throughout the film, her beliefs don’t really change. Rather, Hayley acts as a messiah and opens the eyes of other girl athletes, and therein lies her rebelliousness.
Turning the plot around in reverse order, we get a character who is disillusioned with the sport and has found herself in a different occupation and a different society. I don’t claim to know which is better, the original or the reverse, but the second is at least closer to the truth.

What's behind the cheeky shell? (source: Irecommend) — What’s behind the cheeky shell? (source: Irecommend)

Directing

A woman’s eye

«Stick it» is directed by Jessica Bendinger, who is known for writing scripts for films such as, «Bring it on» and «Aquamarine». Jessica is also the scriptwriter of some episodes of the popular TV series «Sex and the City».

Jessica Bendinger with the cast (source: kinomania)

Bendinger spent several years researching and selecting material on the sport of gymnastics before starting work on the film. She subsequently created a documentary presentation based on them, after which several studios were interested in the project. However, Disney got the rights for the project and so Bendinger made her directorial debut. Jessica thus completed her project for Touchstone Pictures in association with Spyglass Entertainment.
Despite the fact that «Stick it» pretends to be a sports story genre, many critics gave the film low marks precisely because of its poor conveyance of the atmosphere of sports. However, if you look at the film as a whole, you can’t help but enjoy it in terms of music, styling and color correction.

Still from the film, 2006 (source: Kinopoisk)

The costumes of the gymnasts reflect the inner world and character of each heroine. Haley Graham’s fiery leotard, in which the rebel gymnast performed freestyle exercises at the US championships to driving music, deserves special attention.

The musical component of the film is also admirable. The lead song was sung by six-time «Grammy» winner (Missy Elliott), and Mike Simpson, who has written music for such critically acclaimed hits as «Fight Club», «Road Trip» and «Freaky Friday», worked on most of the soundtrack.
It is also worth noting the presence of interesting technical tricks in the film, thanks to which «Stick it» looks with interest and does not lose its dynamism. The school championship scene which is mounted in kaleidoscope style stands out in this regard. All the gymnasts in brightly colored leotards and fast music perform their routines at the same time.

School championships, still from film (source: l2db)

Also very evocative was the introduction scene of the two significant characters in the film, Burt Wickerman and Joanne. The figures of both characters scrolled 360 degrees while information about them appeared on the screen nearby.

A man’s perspective

The film offers aggressive editing in the comedy and action scenes, and conversely, long, even slow-motion shots in the drama scenes, further enhancing the emotional edge of the action. The overall aesthetic, coupled with soundtracks and sound effects, is reminiscent of MTV music videos. Flip phones, BMX bikes, snapbacks all evoke a sense of nostalgia for the early to mid-2000s, the time when the film was released.

Overall impression

A woman’s perspective.

The story may be sagging in terms of sports atmospherics, but «Stick it» is definitely a colorful, stylistic film that’s a pleasure to watch. At the same time, the film is not devoid of meaning; each protagonist has his own drama and questions about himself and his life.

The film is really not about sport but about people. Haley Graham tries to understand who is guilty of her failures throughout the whole film. Eventually, the girl realizes that there is no point in looking for those responsible – she has to act because everything depends only on herself. This allows the protagonist to curb her rebellious spirit and gain the courage to take complete control of her life.

The film leaves a pleasant aftertaste, brimming with inspiration and hope. The story brings out the universal rule of life: it’s never too late to take matters into your own hands. And it doesn’t matter at all whether the issue is sports, decency or winning. In this respect, it’s a good thing that the subject matter is not limited to sports because this makes «Stick it» more interesting to a wider audience.

Burt Vickerman and Hayley Graham at the US Championships, still from the film (source: MoviePlay)

The male perspective

The film, which is announced as a sports drama, maintains a relaxed atmosphere. And though the humor is sometimes based on toilet jokes and stereotypical behavior of the stereotypical characters, you don’t have a desire to switch it off – all the same it is a light film for an evening viewing, preferably in the company of your friends. As for the overall message, it’s clear: if the sport is brutal and meaningless and – since you happen to be there – stay in solidarity with your partners and rivals, and be prepared to take responsibility for your actions. A similar philosophy should be transferred to life. For Haley, it does, as the sport becomes just the backdrop to a central message voiced by the heroine herself: «We are the only ones responsible for everything. That’s the real reality».

Lobster’s adventures
On the merger of the real and virtual worlds in the works of Philip Colbert

Reading time 3 minutes

Actual art is often perceived as the antithesis of the traditional, when the artist breaks with its old forms and patterns and creates something fundamentally new, and — most importantly — consistent with the interests of the modern public. The most unusual means of expression are used now. The more extravagant these methods are, the better: it’s more likely to surprise the viewer. Many art objects in galleries today are perceived by visitors as “divorced” from aesthetic samples of past years. Philip Colbert’s work (by the way, some find similarities between him and Andy Warhol) is another example. This British artist manages to saturate classic painting subjects (such as a hunting scene) with elements of modern reality, recreating their original meanings.

«I became an artist when I became Lobster», — said Philip Colbert in an interview. Exactly this fictional character in bright pajamas, placed in the center of most Colbert’s paintings, reflects the author’s alter ego. For him, Lobster became a kind of mediator between the real and virtual worlds, which, according to Colbert, today are often mixed and become difficult to distinguish. The influence of the consumer society and, as a consequence, mass culture (one of the main topics for this very artist), which for Lobster turned into a struggle for survival, is ironically played out in many works, which at first sight amaze in their own way with aesthetic randomness and wide color spectrum.

«I believe the duality in my work is expressed primarily in the use of very bright colors — festive, positive and cheerful, which convey positive energy, but with dark, gloomy subtext, scenes of violence, as well as a reflection of the modern cult of consumption and the negative effect that it is having on our planet», — explains the author.

The charming Lobster is at the center of events

Colbert boldly mixes time periods and styles, collecting his own cultural code from disparate fragments. It contains dozens of logos of popular brands, faces of recognizable artists of past eras, landscape elements, pop-ups of social networks, and even references to surrealism (for example, Salvador Dali’s elephants in the background of an artwork).

Lobster Land is a semi-fiictional/semi-real world. An alternative reality, overwhelmed by the possibilities of choosing a wide variety of goods and entertainment for any taste (though first you have to «obtain» it). However, perhaps the most difficult thing for someone who once appeared there, is not to lose his or her head and return to the earth in time!

5 reasons to watch Patrick Melrose
Not recommended for the faint of heart, but still...

Reading time 6 minutes

In 2018, German filmmaker Edward Berger premiered the mini-series «Patrick Melrose», which tells the story of the eponymous hero’s attempts to deal with the traumas of his past and live a life of dignity. The project did not receive an unequivocally enthusiastic response from the audience but was nevertheless extraordinary. This article explains why it’s worth watching.

An atypical role for Benedict Cumberbatch

One of the most in-demand actors, not only in the UK but worldwide, admitted in an interview:

«I think my strength is in my brain, not my muscles. But that doesn’t embarrass me. It is very easy to look clever. It is much harder to play smart. But, because I grew up in high society and went to one of the oldest schools in the world, I have to play asexual sociopathic intellectuals for the rest of my life…»

So Patrick’s eccentric role is an entirely different one. The protagonist claims to be a self-destructive leader in every possible way: alcohol, drugs, promiscuity – the list does not end there. Not every film gives you the opportunity to watch an almost completely demoralized Benedict dancing in a drunken stupor.

Visuals.

«Patrick Melrose» is full of its own aesthetic: in places bright and juicy, like the fruit on the trees that grows outside the luxurious Melrose villa, in places depressing and gloomy, highlighting the spiritual poverty of the individual characters (no spoilers).

The detailed interiors complement the style of the recreated time. The same applies to the choice of locations (the French countryside alone) and the costumes of the characters: together, they create a harmonious picture that is particularly pleasant to look at in natural, warm light.

sun was shining. What else was it supposed to do? - Patrick Melrose — The sun was shining. What else was it supposed to do? – Patrick Melrose

The sound of music

The musical accompaniment to this story also leaves no one indifferent. The retro atmosphere here is not just in the picture, but also in the soundtracks. The pilot episode, for example, is accompanied by the Cat Stevens song «Wild world», as if preparing the viewer for a mental transport to a couple of decades ago. Except that as one gradually delves into Patrick’s childhood and learns details of his interactions with his parents, it becomes difficult to call the nostalgic mood evoked by the music a restful one.

A person can lose their mind because they are experiencing an emotion that they have to suppress. - Patrick Melrose — A person can lose their mind because they are experiencing an emotion that they have to suppress. – Patrick Melrose

The series also has a place for original soundtracks, with emotional responses ranging from anxious and disturbing to melancholy and alienating.

A witty tragicomedy

Patrick’s story is a coherent narrative not only and not so much about the ways in which he destroys his ‘normal’ life, but about the reasons that have made the latter unbearable (primarily mentally). Melrose was born into a well-to-do aristocratic family, but his background and wealth did not make him happy. His mother’s indifference and his father’s unreasonable, perverted cruelty turned little Patrick’s life upside down for many years to come. The relationship within the family is a central theme of Berger’s mini-series, and one which all of us can feel particularly strongly about.

Forgiveness is an important thing, especially when you are forgiven. - Patrick Melrose — Forgiveness is an important thing, especially when you are forgiven. – Patrick Melrose

With each series, the life of the protagonist grows more and more hopelessly detailed. Nevertheless, his story is presented in an interesting, even amusing and satirical way so that we want to watch it through to the end (even if it is psychologically difficult).

A chance to compare the series’ experience with the books

The plot of the series is based on the series of novels by Edward St. Aubyn, whose work is highly regarded by the performer of the title role. The series of books is called a modern classic, noting the author’s distinctive style with its inherent sincerity, impartiality and irony. It is important to note that the works about Patrick Melrose are largely autobiographical: their idea was inspired by real events in the life of St. Aubyn.

«Winx» is saving the world again
Netflix has released a movie adaptation of the animated series about fairies

Reading time 4 minutes

The 6 episodes of the first season of «Fate: the Winx Saga» was released on the streaming platform Netflix on January 22. Directed by Brian Young, known for his work on «The Vampire Diaries», and Iginio Straffi, the creator of the original cartoon. Production was handled by Italy and the United Kingdom, and filming took place in Ireland.

The Netflix project is based on the Italian animated series «Winx Club». The fantastic series has been released since 2004 and from that time has won the love of viewers. At the moment, 8 seasons, 3 feature films and several spin–offs have been released. In addition, the manufacturer produces merch: comics, clothing, stationery, toys and computer games. Straffi conceived the film adaptation back in 2011, but Netflix only started shooting in 2019.

Despite its popularity among children and teenagers, the animated series has been repeatedly criticized. The creators of «Winx» were accused of sexual objectification of the heroines — sixteen-year-old fairies have a perfect body and wear too open clothes.

A shot from the first season of «Winx» (source: Amino Apps)

The plot of the film series differs from the original one. Sixteen-year-old Bloom (Abigail Cowen) gets into «Alphea». «Alphea» is a school for fairies and specialists from the magical world. The girl lives in a hostel with other fairies, communicates only with Aisha (Precious Mustapha), and with Stella (Hannah van der Westhuysen) is at enmity. The heroine has a bad relationship with her parents. Headmistress Miss Dowling (Eve Best) knows the truth about Bloom, but keeps it a secret. The young fairy has yet to learn about herself and her origins.

The series received an age limit of «18+». According to Straffi’s idea, the show is designed for adult fans of the animated series: in the Netflix adaptation, there are a large number of bed scenes and obscene language.

From left to right: Muse, Terra, Bloom, Stella, Aisha (source: Twitter)

The public met the news of the film adaptation with conflicting reviews. Even at the stage of creation, the project was discussed because of the cast: the Asian Muse was made a white American, Techna was removed from the number of Winx fairies, and instead of Flora, another character appeared — her cousin Terra. Another heroine — Beatrix-became a collective image of the evil trinity Trix. There is no Muse and Riven couple that is loved by many: Riven is an open bisexual who is in love with another person.

The first season received many positive reviews. On IMDB, users rated the series 7 points on a ten-point scale. On Kinopoisk slightly below-6,4. After the premiere, the network received information that Netflix has extended «Fate: The Winx Saga». There was no official confirmation of the second season.

All that is known about the 2021 Grammys
Nominees, scandals, date, and new records

Reading time 5 minutes

The Grammy is the most prestigious music award in the world. Each year the National Academy holds an award ceremony. A jury of producers, sound engineers and musicians award the artists by voting. Each musician dreams about gaining at least a Grammy nomination. Here’s what you need to know about the 63rd Awards.

When and where?

The awards ceremony will be on 31of January at the Staples Center in Los Angeles. It has been held there for 40 years, since the beginning of its broadcasting. It’s not yet clear what format the event will take: it all depends on whether the coronavirus situation in the U.S. worsens. «We will make a decision about the audience and the carpet closer to the date,» the Grammy website says. In addition, the names of the presenters and performing artists are unknown.

Beyoncé got the most nominations.

After the «Black is King» album released in July of this year the singer got 9 nominations. Now Beyonce has 79 nominations and 24 statuettes. If she wins 8 more, it will be the record-breaking quantity of Grammys. In addition to Beyonce Dua Lipa (5) and Billie Eilish (4) lead the way in the number of nominations.

A still from Beyoncé’s visual album «Black is King» 2020

BTS’s first serious nomination

BTS is a Korean boys band that continues to break records and conquer the West. The guys finally received Academy recognition and a nomination for «Best Pop Duo/Group Performance» for their song «Dynamite». Their hit topped the Billboard Hot 100 music chart for two weeks. BTS will compete for the statuette with other pop stars: Justin Bieber, Lady Gaga and Taylor Swift.
The band did not receive a nomination for «Best Album», although their release «Map of the Soul: 7» was recognized as the best-selling album in the first half of 2020.

BTS on the carpet at the 62nd Grammy Awards, 2020

The Weeknd vs. the Grammys

This year’s announcement of nominees was not without scandal. The Weeknd did not receive any of the nominations and accused the Academy jury of corruption. There really is the reason for doubt: the album by Abel Tesfaye (The Weeknd’s real name) exploded all the charts and received critical acclaim. It’s all the more strange that the singer’s work has been ignored.
Abel shared his thoughts on his Instagram page. «The Grammys are still corrupt. You owe me, my fans and the industry in general», he wrote. Drake, Ariana Grande and Halsey supported the performer and agreed with his words

The Weeknd’s «After Hours» album cover, 2020

Russians in the West

Two musicians from Russia received nominations at once. Pianist Daniil Trifonov will compete for the award for «Best Solo Instrumental Classical Music Work» for his performance of Rachmaninov. The second, conductor Maxim Emelyanychev, was in the «Best Opera Recording» category. Leonid Agutin, who originally applied for five categories, received no nominations after the Academy vote.

Daniil Trifonov was nominated in the category «Best Classical Instrumental Solo Work»

Russian sensation
"To the lake" - the most expensive Russian series on Netflix

Reading time 3 minutes

“To the Lake” is a Russian sci-fi thriller series directed by Nika Award nominee Pavel Kostomarov. It was added to the Netflix catalogue in October 2020. The platform bought the series for a record-breaking sum – $1,5 million. The Russian name of the series is “Эпидемия” (Epidemic).

Главный герой сериала — The main character moves to Karelia because of the epidemic

It is based on the novel ‘Vongozero’ by author Yana Vagner. The plot is literally repeating the events of the current pandemic. Life in Moscow has become life-threatening because of the new disease. The main character, accompanied by his family, ex-wife and neighbours, moves to Karelia, to a small island in the middle of a lake.They have a dangerous way to go. Netflix got interested in the series in January, when the pandemic just started.

“To the lake” was ranked the 4-th most watched series in the Netflix rating. Stephen King tweeted about the series: he called it “pretty darn good” and highlighted the excess of snow, cold and vodka in the show. There is even a fan-page of the series on the Internet.

Стивен Кинг написал твит об «Эпидемии» — Stephen King’s tweet

This is not the first time when Netflix wants to buy a project created by Valeriy Fedorovich and Evgeniy Nikishov. In their interview to Meduza producers said that they had already refused to sell their projects to Netflix because the terms weren’t beneficial. At first Netflix wanted to pay for “To the lake” less than the other streaming platform. When the offer was rejected, the company suggested releasing the series with a “Netflix Originals” mark. Products from this category are generally more expensive. After some consideration producers accepted the offer.

Netflix has already purchased more than 40 Russian cartoons, movies and tv shows. Before “To the lake” was added to the catalogues, the most expensive Russian project on Netflix was “Better than us”. The series cost one million dollars.

Angels and “demons”: did aliens really contact saints?
Depictions of UFOs in Christian churches and pictures since the 11th century

Reading time 4 minutes

Did the humans descend from Adam and Eve? Not quite, some of the researchers say. We can see an increasing amount of assertions and so-called “facts” that human beings are under the control of aliens. Some ufologists state that extraterrestrials allegedly contact some of us. However, the Church’s official representatives do not just reject all these statements but even a theoretical possibility of such kind of “interaction” between a man and “beings from other planets and not just”. Why does the Church with so much vigor try to “retain its monopoly” on the Human Origins?

2014 almost the whole scientific community was curious about an unusual finding. A strange fresco with a supposedly depicted flying saucer was found in a Romanian church. Moreover, the same kind of enigmatic inscription from the Bible was written at the bottom of the image in German: “Israel hoffe auf den herrn” (“O Israel, hope in the Lord”). Apart of a flying saucer, in this story we face 2 more additional mysterious facts:

The fresco dates from the 14th century and there is an original line in German, although Bible was translated by Martin Luther only in 1522.
At that time there lived the ruler of Wallachia Vlad II who was father of Vlad the Impaler also known as Vlad Dracula.

Biserica Manastirii, or Church of the Dominican Monastery, in the town of Sighisoara, Romania (14th century)

One more similar discovery happened in 2017 in Georgia. There, during the reconstruction of the church, scientists found the mural painting of 12 apostles and Jesus during the crucifixion dating from the 11th century. At the top of the picture one may see 2 unknown flying objects which resemble alien spaceships.

"Crucifixion of Jesus" on the walls of the Svetitskhoveli Cathedral, Georgia (11th century) — “Crucifixion of Jesus” on the walls of the Svetitskhoveli Cathedral, Georgia (11th century)

Two other images of the Jesus’ crucifixion with flying saucers being present are the “Crucifixion of Christ” in the monastery Visoki Decani dating from the 14th century and a picture “La Tebaide” created by Paolo Uccello (1396-1475) .

“Crucifixion of Christ” in the monastery Visoki Decani, Kosovo (14th century)

So, what do the Church’s officials say about the “extraterrestrial contact” and existence of other civilizations beyond Solar system?

Regardless of being Orthodox and Catholics, Jews or Evangelicals priests are convinced that all the information from so-called witnesses is nothing else as a part of their vivid imaginations, nightmares or even a proof of their sinfulness and connection with the devil.

One of the most logic explanations of such kind of Church servants’ reaction is just a lack of this sort of information in holy scriptures. The Church fears to lose its impact on people, its dominating presence in people’s life in terms of accepting the fact of existence of more developed and powerful forces. It fears to get a lower rank position in people’s world outlook and as a consequence a loss of its respect and authority.

"Baptism of Christ" Aert De Gelder (1645-1727) — “Baptism of Christ” Aert De Gelder (1645-1727)

Anyway, it looks a bit illogical from priests’ side that in view of the absence of information they do preserve only a negative attitude regarding flying saucers as they are depicted in temples near saints and not in a “hostile” way. Why in case of their existence cannot they be helpful to us?

A good example of it is a depiction of Moses receiving commandments from God. It is a world-famous fresco which is placed on one of the walls of the Belgian Cathedral Conti Dotremond.

A painting on wood near the castle Conti Dotremond, Belgium. Moses is receiving the tablets. Date and artist unknown

It depends on you whether believe or not in aliens and their possible “visits” to our planet but in no case we have a right to accuse somebody to be inadequate, mentally ill or “linked to the Lucifer” as it sometimes happens. Nevertheless, we should not trust everyone who has seen “them” as too many people create stories for different reasons.

Theatricality in Cinema
What is the relationship between these two arts

Reading time 4 minutes

What makes the languages of theater and cinema so different but at the same time so good complement each other?

Perhaps the most obvious difference between the cinema and theater is that the first one is fragmented. To achieve the desired effect, the director can use many takes – he has a few chances to «replay» the planned. But the viewer has no opportunity to «touch» the action. Film production and the process of consumption of the finished product by the viewer are separated in time.

On the contrary, theatrical processes are continuous. The performance implies constant interaction with the viewer, who acts as a «creator». The degree of influence of production depends mainly on the audience involvement, its concentration on what is happening «here and now».

The theater is the art of reflecting (c) Konstantin Stanislavsky

The degree of the conventionality of both cinema and theater is closely connected with communication (mainly non-verbal) between actors and audience. The emotional connection of the viewer is a necessary condition. The theater aims to unite actors and spectators in a single spiritual effort. But both cinema and theater strive to lead us to a state of “secondary belief” – appealing to our personal experiences, associations, and feelings. We empathize with the characters, project the events and behavior of the characters on themselves, interpret meanings, and rethink what we see.

Another important feature is the illusion of reality, and in cinema, it is much higher than in the theater. The director is able to recreate almost any historical epoch, and modern technology makes this task much easier. In the theater, all «special effects» are built-in, and the main mechanisms of influence are the actor’s mimicry and scenery. Spatial restrictions (stage frames) also have an effect.

Cinema should make the viewer forget that he is sitting in the movie (c) Roman Polanski

There are films that are on the verge of theater and cinema. «Rosencrantz and Guildenstern are Dead»(1990, directed by Tom Stoppard) and «Anna Karenina» (2012, directed by Joe Wright) are interpretations of classics in which the artistic possibilities of theater and cinema complement each other.

In the first of them, the techniques of anachronism, demonstrative violation of sequence and visual citation (these resources give the cinema) are combined with the involvement of the heroes-observers in the course of the action: the world for them at some point becomes theater, they move to the stage, in the heart of Shakespeare’s «Hamlet» – so there is an external conditionality (theatrical feature).

There are two ways to become an artist. The first is to do what everyone thinks is art. Second: to make everyone think that what you are doing is art (c) Tom Stoppard

In the second – we meet the excessive acting mimicry and live plasticity, striking the splendor of scenery (the illusion of the place) with the effect of «behind the scenes» (in the design of the back of the stage).

Shootings of the film “Anna Karenina” (2012, directed by Joe Wright)

Another interesting example is «The Hateful Eight» (2015). Quentin Tarantino borrows from the theater a method of narrative division into acts: the film consists of chapters, each of which becomes our «guide» in a confusing, dark, and bloody story. Interesting here is the mise-en-scene transferred from theatricality, designed to reflect all the components of the inner life of the heroes, resulting in a struggle between them – both on the moral and ethical as well as physical levels.

«They don’t come here without a good reason»…

The theater has something to offer to the film industry – the possibilities of its language, if used by the director correctly and appropriately, are really able to make a film brighter visually and deeper – in the sense.