Of the twenty-five components that comprise my annual top twenty album list (there are actually twenty-nine if you count ordering/re-ordering the individual lists as I write about them), this intro section is, counterintuitively, the one I tend to care about the least. It’s usually written very late in what, having traditionally started in early December and ending heaven only knows when, has by that point been a lengthy and fairly exhausting process. For this 2018 list, it came in dead last, which I admit might seem an odd way of putting your best foot forward as a writer. To be fair, and by way of context, I finished six other posts in the two months flat it took me to bring the following countdown through to fruition, comprising an approximate (and puny!) combined total of 11,000 (additional) words. I also supervised the fifth anniversary relaunch of my/this beloved little backwater, including its long-threatened change of address to the theoretically easier to say/type/remember URL www.darkadaptedeye.org, and the criminally overdue renovation of its former offensively junior varsity digs. Continue reading “My Top 20 Albums of 2018 + Supplemental Lists”→
In the continued interest of exploring the fascinating push/pull relationship between high cunning and low art, let us now figuratively hold our collective noses and deign to discuss/ dignify a television dating game show on which four attractive young heterosexual couples in theoretically committed relationships of between three and eight years are, of their own volition, whisked away to a ridiculously swanky tropical resort to mingle and/or cavort – again, on purpose – with a herd of photogenic and aggressively amorous singles and, in the process, stick pins in those aforementioned relationships as if they were an assortment of designer voodoo dolls. Continue reading “DVR Hindsight #18 (1/16/19): Temptation Island Premiere”→
Since its publication in October of 2014, “Ranking, Dissecting the ‘Friday the 13th’ Series” has been by far the most viewed post on Darkadaptedeye. In celebration of DAE’s fifth anniversary, that original piece has been revisited, expanded, and thoroughly updated, which is something its author both has wanted to do and, frankly, should have done years ago. Thank you for visiting and reading DAE. On behalf of blog/camp management, I hope you enjoy your time down at the lake! -EN
“He neglected to mention that, downtown, they call this place ‘Camp Blood’…”
John Carpenter’s Halloween is, without question, my favorite horror movie of all time – its prominence as recurring subject matter on this site, whether directly or as an invariably unfair comparison point, is conclusive proof – but its rough-hewn demon spawn, Friday the 13th, actually qualifies as my favorite horror series. I’ve been thinking a lot lately, in fact, about what a surprising little swath of my adolescence and teenage years was given over to fuzzy but fond memories of watching an unstoppable killer stalk nubile teenagers around the grounds of a New Jersey summer camp. For heaven’s sake, why, might you ask? I don’t rightly know. I have always felt an instinctive attraction to things “other”, of course, and have, as a result, found myself on the defensive side of more arguments about “harmful” art and censorship and selective morality than I can properly recount (or care to). One of the joys of growing up is the degree to which you can naturally go about pruning those sorts of conversations out of your life, whether by updating your social circle, changing your surroundings, or both. I still fondly recall a vivid memory of milling about, at (approximately) the age of nine, in the upstairs of my grandparents’ grand, gothic house with two beloved cousins, ten and eight respectively, when one of them announced, “we should play Friday the 13th!”
Like George Lucas (and George Carlin!), my first name is actually George.
Unlike George Lucas, only telemarketers and other such salesmen call me George.
Like George Lucas, my greatest creative work yet (the blog Darkadaptedeye has been judged roughly equivalent in artistic merit and cultural impact to The Empire Strikes Back, according to the handful of departed low-level Trump Administration officials whose breathless kudos I just made up) was entirely self-financed.
Unlike George Lucas, my greatest creative work did not have a standalone budget of $54 million dollars (adjusted for inflation).
Also unlike George Lucas, my greatest creative work did not have a budget at all. Though I do occasionally advertise it in $12 chunks on Facebook.
Gremlins isn’t a Christmas movie per se and yet it is my favorite Christmas movie, observing all 360 degrees of the holiday season – the warmth of simple pleasures and gathered family as ward against the cold; the balm of home and hearth belying some of its tackier trappings and base consumerism – through an appealingly dark lens while, counterintuitively, still treating the festivities with more heart and care than might your average “Santa is/toys are/elves are real/magic/cute” kiddie tract or “I’ll be home for the holidays” made-for-television romantic schmaltz. Joe Dante’s 1984 hybrid Americana monster movie/comic thriller, in which the improper care of an exotic house pet unwittingly unleashes a destructive plague of mischievous beasties upon an unsuspecting small town, is a savory Christmas confection coated in arsenic and wrapped lovingly in exploding sandpaper. Continue reading “Movie review: “Gremlins” (1984)”→
The other day, while discussing boxing in detail with a knowledgeable co-worker – and there’s a opening I never would’ve thought I’d possibly write five years ago – I casually reminded him that Saturday night’s Boxing After Dark card would technically be the final telecast of HBO Boxing after 45 years of standard-bearing quality and omnipresent, sport-influencing significance. He professed mild disappointment when hearing that the best card the network could apparently assemble as its swan song was a triple-header featuring two matches from the nascent and still relatively obscure realm of women’s boxing. I found myself neither particularly surprised by his knee jerk response nor my general agreement with it. Boxing fans are always hungry, after all, rarely satisfied, and can be exceedingly hard to impress. Continue reading “Ceremonial Ten Count: A Requiem for HBO Boxing”→
In the privacy of my home, or a friend’s, or the relative safety of a Steeler bar or especially rowdy corner table, believe you me, I’ll gladly rag on your team, and your players, and your fanbase, and your ownership, your stupid, overrated city, and adorable but misplaced civic pride – and the refs (especially the refs) – until they are all bleeding like sieves from multiple metaphorical wounds. No enemy is technically within earshot and so, in my view, no one technically gets hurt. I fully expect and endorse the same treatment from opposing fans, so long as I’m not around to hear that either. Convenient, no? Venting one’s spleen in a controlled, friendly environment can be terribly therapeutic. I wish it wasn’t strictly necessary, of course, but outside of vicarious onfield accomplishments – which, let’s face it, are fleeting and never, ever a given – it’s just about the only solace to be reliably found in sports. There is a very good reason that I keep my in-person trash talking to a bare minimum, however… or, rather, two. One – I’m not convinced it’s always harmless fun, nor am I without shame. I have evolved over almost forty years as a Pittsburgh Steelers fan into an anthropomorphic cauldron of bubbling hatred, wrapped in decorative black and yellow ribbon and exceedingly thin skin. As we share a perhaps overly emotional bond to a merciless game, I can’t trust you to be 100% civil and maintain perspective face-to-face any more than I do myself. I’ll certainly buy you a beer after, and we can maybe talk about something less divisive and triggering, like politics.