Noiseless Chatter Archive

You absolute madmen. Or women! The campaign is sitting at nearly 250% funded, and it hasn’t even been 24 hours. It was fully funded in under two hours. There is still a full month to go. Thank you. A million times, thank you. What this means is…well, the book is happening. There’s no longer any question. Enough people threw enough support behind the campaign that every book in season five (and a few bonuses as well) will be released. The Kickstarter will continue, of course, but now when you back it you are essentially preordering it. You’re reserving your copy and you’ll get it immediately upon release. $15 gets you a physical and digital copy, but there are a lot more options and, of course, a lot of other great books. So check it out. Preorder it . You’ll like it. If you have already supported the campaign, I appreciate you. If you haven’t but will, I appreciate you, too! If you haven’t and aren’t interested…well, yeah, of course you have and deserve my a

Three years in the making, it’s finally time for the official announcement: My book, Resident Evil , is part of season five of Boss Fight Books. Boss Fight Books is an excellent publisher, and I cannot express how profoundly honored I am to be included in their lineup. Each of their books focuses on one particular video game and then branches — to varying degrees — into larger topics, histories, personal journeys, and so much more. This season includes books about The Legend of Zelda: Majora’s Mask , Red Dead Redemption , Silent Hill 2 , and Final Fantasy VI . My book is about Resident Evil . Here, I can prove it: Resident Evil is my central case study for discussing horror and how it works, with an extended tour through the deadly Spencer Mansion allowing us to discuss the writing, directing, and structuring of scares, along with the surprising power of horror to bring us together. It’s done. It’s as ready to be distributed as it can possibly be without actually bein

It’s difficult to judge season finales in serialized shows such as this one on their own merits. You can talk about individual scenes or developments, but unless they actively tie up storylines as opposed to introduce new ones or continue existing ones, you’re left in a sort of narrative limbo. Some Better Call Saul finales do wrap up storylines, most notably season one’s “Marco.” There, it may have been written with the thought that the show might not get a second season. It didn’t show us Jimmy’s complete transformation into Saul, but it could arguably have showed us enough that we could fill in the blanks. Here, in “Something Unforgivable” (as in the past couple of seasons), the show knows it’s coming back. The writers are able not only to keep their momentum, but to leave things so artfully unresolved that audiences will be left anxious for the next season. All of which is to say, there’s not much I can discuss from a story standpoint. Last week’s episode broug

The bigger they are, the harder they fall. At least, that’s what they say. Rudy Ray Moore was never very big, though, and it’s difficult to imagine a fall harder than Disco Godfather. The movie wasn’t just disappointing; it singlehandedly sunk Moore’s career. It was a movie so bad it seemed expertly designed to dismantle everything Moore had built. It’s a strange product of monumental misjudgment that is almost beyond understanding. Watching it is a dismal experience. It’s sad and disheartening. Every artist ends up producing garbage at some point, but Disco Godfather is like watching gravity reassert itself, the universe finally realizing Moore had bent the rules and now must be punished. If that sounds overly dramatic, so be it; I’m talking about Disco Godfather , and “overly dramatic” is the nicest thing anyone can possibly say about this movie. With Dolemite , Moore left his stamp on the action film. With Petey Wheatstraw: The Devil’s Son-in-Law , he left his s

First of all, kudos to “Bad Choice Road” for actually ending. Eduardo showing up at Jimmy’s door must have been a very tempting “Executive Producer: Vince Gilligan” moment, but we got to see the entirety of the confrontation that followed. I know I praised “Bagman” for withholding the ending of its story, and I stand by that as being the correct decision, but it’s not something this or any show should do weekly. It’s tempting to talk about nothing but that ending, but I’ll try to hold off as long as I can. The rest of the episode was pretty good. Not great, but after “Bagman” I think any episode would have difficulty looking great. We got a lovely opening sequence showing the contrast between Jimmy and Kim — at least for now — set to a hummed version of “Something Stupid.” Which I found hilarious, because saying “I love you” can’t even register on the stupidity scale for Jimmy anymore. Then we’re back. Eduardo gets his bail, Jimmy gets his money. It’s not an easy re

Rudy Ray Moore will always be remembered for Dolemite , but his crowning achievement is without question Petey Wheatstraw, The Devil’s Son-in-Law . Everything about Petey Wheatstraw represents an improvement over Dolemite , and often a substantial one. It’s smarter and funnier. The acting, writing, casting, blocking, pacing, and fight choreography are much better. Whereas Dolemite felt like a vanity project — which it was, even if it was a more inclusive one than most — Petey Wheatstraw feels like a movie. Not just a movie, either; it’s a genuinely good movie. Moments approach greatness. Its laughs are almost uniformly genuine. I don’t have any specific insight into Rudy Ray Moore, but I’d be shocked to my core if I found out he had been upset at any point that people had laughed at Dolemite instead of laughing with it. I honestly get the sense he would have still considered that to be a kind of success. Moore never took himself too seriously. If he caught somebo