As the two attempt to reconnect with the show, aspects of their realities begin to shift, causing them to suspect the “The Pink Opaque” as more than just a show, wherein they soon discover that it is a reflection of their internal realizations about themselves. The two leads in the show, named Isabel and Tara are posed as symbolic representations of Owen and Maddy, being that they are tangible embodiments of what they could be.

The show itself epitomizes the abstract feeling of having something within you that is yet unknown, that you strive to reach for, only to have a figurative weight pull it back down into you to shut it out and bury it. Eventually, it is established in the film that the line that separates their reality from “The Pink Opaque” is more blurred than ever, at which life is expressed as one TV show watched through the lens of one’s own eyes, as a mirrored truth of actuality.

Mr. Melancholy is depicted as the main antagonist in the show, and is an entity that takes away their hearts. Alongside The Big Bad, another entity who accentuates their perception of death, the show explores the sensations of still being physically alive, yet being left with the all-consuming feeling that a part of you has passed away. As a subtext presents itself, closely correlated to the queer identity and being a person of color, the film explicates the suffocating brawl of having to repress and stomp out certain dimensions of the universe that stretches out within you.

Glowing with effervescent fluorescence, the film is packed with surreally existential dialogue and stunningly luminous visuals, which all come together to form this glittering pursuit of finding the self. Alongside this, the piece also addresses youth’s tendency to seek attachment to facets of pop culture, such as fandoms, as a vehicle of comfort in this tumultuous world. Accompanied by Justice Smith and Brigette Lundry-Paine’s poignantly moving acting and Alex G’s bittersweet and saccharine soundtrack, Schoenbrun came up with a film so stirring and lachrymose that I found myself crying at the end of the film, having needed hours to myself to recover from what I had just seen.

In the final scene of the film, we see Owen undergo a moment of catharsis which leaves him splitting himself open, to unearth the parts of him that have always remained hidden. But then, the film comes to a sudden closure, as Owen frantically tells everyone around him, “Sorry about that from before.” It extends the systemically induced feeling of obligation to apologize for our complex natures as multi-layered individuals. Ultimately, Schoenbrun with this movie has summarized the horrors of what it is like being alive, in the gifted medium of a film, to which now, I do not need to explain.

‘I Saw the TV Glow’ is currently playing at FilmScene in Iowa City, as of June 4th, 2024.

The 500 Club seeks to provide concise film reviews and criticism at around a cool 500 words for your viewing pleasure.

The post The 500 Club: Jane Schoenbrun’s “I Saw the TV Glow” appeared first on KRUI Radio.

In a way, 10 years seems like too little time to deem anything classic, or even fitting for the topic of “this week in music history.” Lou Reed’s “Transformer” came out almost 50 years ago this week; why write about an indie album from a decade ago? Well, there are a couple good reasons.

Alex G’s “Trick” remains his most streamed and most enigmatic record at the same time, a benchmark in an exciting music career that is still blossoming. Both the anonymous masses and devoted fans have decided it’s a worthwhile record that should be considered one of the best of the 2010s.

A Second Life for Indie Music

Several songs from “Trick” have gained a cult following and renewed life from TikTok. “Sarah” has an impressive 33.4k videos to date; “Mary,” 16.4k videos, “16 Mirrors,” 12.4k. Whether users are admiring the music, curating an aesthetic, or just trying to boost their content, people are undoubtedly connecting with the music (all over) again.

These songs, and others, have garnered tens of millions of streams on Spotify. “Sarah” is the frontrunner, with over 40 million streams to date. For an album that was published independently on Bandcamp in 2012 and only given a proper release in 2015, this is a rare resurgence.

Alex G used to be an unkept secret. His “discovery” by and collaboration with Frank Ocean propelled him to further recognition. But even after lending inventive guitar playing to 2016’s “Blonde,” Alex G didn’t catch mainstream attention. Eventually, the joint forces of algorithm-based support from TikTok and Spotify helped “Trick” gain traction.

Alex G’s Textures and Mystique

“Trick” is beautifully messy. It’s worth a listen for any fan of indie music, even though it didn’t stick out to me at first. I first discovered his 2019 album “House of Sugar” via a (laudatory) Pitchfork review and high recommendation from a friend of a friend. The album enchanted me, so much so that I had to revisit his older work.

I didn’t immediately connect with “Trick.” After frequent revisits, I understand the album’s allure. It’s propulsive, raw, and full of potential. From the first track, “Memory,” Alex G makes no haste establishing a sound and world-building. Every song begins abruptly, no fade-ins or fluff. The record commands attention from the first strum.

Alex G surveys a range of sounds and textures, from typical house show band (“Kute”) to more noisy/industrial (“Animals”) to psychedelia (“String”), even venturing into electronic (“Trick”) and hints of folk/acoustic (“Forever”). There’s a certain liveliness and unexpectedness about “Trick”, and all of Alex G’s music, that makes you wonder if it might sound different the next time you listen to it. It’s part of the mystique, encouraging multiple listens and fan interaction.

Lyrically, the tracks are both simple and absurd. He sings about a pet on “Animals:” “Rosie is my favorite dog / Takes her piss on the neighbor’s lawn.” Some fans speculated that all of his songs are about dogs, but he confirmed this as false.

He tells human stories too, such as the ever popular “Sarah.” The song starts with: “Sarah runs to feel the burning in her lungs.” From just a few lines, we see he is a plainspoken, storytelling lyricist. He shows us again on “So:” “I am so blue / How can I show you?” Another simple lyric with a complex feeling.

The emotion of this line is best understood when hearing it, which brings up a good point: the voice. Alex G’s voice is key. Some songs, he stays in his regular, raspy but low register. Others, he ventures into high territory, to a dazzling effect.

How Things Change

Perhaps the most affecting moment of the album is the devastating song “Change” followed by the gorgeous piano track “Clouds.” When Giannascoli sings the simple line “I don’t like how things change,” it could turn a casual fan into a dedicated Alex G believer. I wouldn’t be surprised if the track turned into the next popular TikTok sound/cult favorite.

“Trick” (purportedly) covers drug use, childhood bullies, beloved animals, and the importance of memory. This range of topics attracts listeners to his varied discography. The songs are often short. This leaves the listener to wonder what his enigmatic lyrics mean. The album’s world-building invites fans to explore an expansive record filled with common (Biblical) names (Sarah, Adam, Mary) and commonplace ideas (Memory, Advice, Change).

“Trick” by Alex G ought to be considered a classic in Alex G’s catalog, if not an important record in “indie music.” If we as indie enjoyers don’t make a case for our favorite records when they’re still fresh, people might not remember them as the benchmarks they are.

Ten years later, “Trick” remains an important record for fans and reappears in unexpected places in the nebulous algorithm. Listen if you haven’t. You might not get it the first time, the lyrics and sound may be too mundane. But that’s where the magic trick of Alex G’s music lies, in the unexpected connections you’ll discover in the ordinary.

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