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Tim Heidecker – “Property” (Feat. Weyes Blood)

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Tim Heidecker is mostly known as an actor and comedian. He did excellent work in the scene from Jordan Peele’s Us, for instance, where he got brutally murdered while listening to the Beach Boys’ “Good Vibrations.” But Heidecker also has a side hustle making vaguely satirical ’70s-style singer-songwriter music. Heidecker recorded his new album Fear Of Death with a pretty amazing backing band: Weyes Blood’s Natalie Mering, Drew Erickson, the Lemon Twigs’ Brian and Michael D’Addario, Foxygen’s Jonathan Rado. We’ve posted the early singles “Fear Of Death” and “Nothing,” and today Heidecker has dropped a new song called “Property.”

“Property” is a big, swelling singalong choogle-rocker, and it’s built around a sort of mordant joke. The idea of the song is that cemeteries can’t last forever, since craven capitalist living humans won’t be able to resist building condos on their grounds: “They buried those bodies with the best intent/ But those boxes could be turned into rent.”

Given Heidecker’s main job, it’s tempting to call “Property” a comedy song. It’s not really that, though. You probably won’t laugh while listening. Instead, this is the same kind of bleak acid-burn satire that Randy Newman was writing in the ’70s. Listen below.

Fear Of Death is out 9/25 on Spacebomb. Pre-order it here.

Entertainment

‘Succession’ Wins Best Drama at Emmys 2020

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Looks like the Roys are taking over for HBO’s Throne. HBO’s Succession took home the coveted prize of Best Drama at the 2020 Emmys. The darkly comic drama about the internal discord tearing a major media family apart edged out the likes of Better Call Saul, Killing Eve, Ozark, Stranger Things, The Crown, The Handmaid’s Tale, and The Mandalorian. Succession also takes the spot formerly held by long-time celebrated HBO show Game of Thrones.

Loosely based on the real-life stories of media mogul families like the Murdochs and Redstones, Succession tells the story of the fictional Roy clan. Lead by irascible patriarch Logan Roy (Brian Cox), the Roy family is essentially a group of bickering narcissists struggling to find emotional support from the very people they’re competing against for power. The series is a searing indictment of news media, the 1%, and the ruling class. Succession works in huge part thanks to its incredible writing, directing, and ensemble cast. In fact, the show won Best Direction, Best Writing, and Best Lead Drama Actor (for Jeremy Strong as Kendall Roy).

Accepting the award from London, series creator Jesse Armstrong gave an unconventional series of “un-thank yous” to the virus for keeping everyone in the show separate, to President Trump and Prime Minister Boris Johnson for their responses to the COVID-19, to Nationalists everyone, and the “media moguls” whom Armstrong said keep those groups in power.

Is Succession on Netflix? Sadly, if you want to catch up on the big winner of the night, you’ll need either an HBO or HBO Max subscription.

Where to stream Succession

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Star Wars Star Alden Ehrenreich Pushes Back Against Narrative Surrounding Solo

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It’s definitely true that the media tends to polarize not only the good and the bad but also everything in between. When it comes to Solo, there’s a lot to look at; so, let’s separate the conversation into box office and general perception. The first is box office. Was the media unfair to Solo by calling it a box office failure? Well, it’s certainly fair to call it a disappointment. The film was reportedly made for $300M according to Deadline. The film grossed a total of $392M and change worldwide. When you factor in marketing costs and percentage theaters keep, especially overseas, there’s no way the film made its money back theatrically (if the budget numbers are accurate). That being said, when you throw in home entertainment and life it’s getting out of streaming services and merchandise and what not, Solo was definitely not a disaster. It wasn’t what I’m sure Disney hoped, but sometimes that happens.

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SNEAK PEEK: Preview DC Comics’ The Flash #762

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The end is here in Flash #762 – the final issue of acclaimed writer JOSH WILLIAMSON’S record-shattering run! Along with artist HOWARD PORTER, colorist HI-FI, and letterer STEVE WANDS, they’re bringing all things to a dramatic head – and the Flash may never be the same! See how it all ends when this issue hits stores on Tuesday, September 22 – but to whet your appetite ’til then, here’s some HOT preview pages!

SNEAK PEEK: Preview DC Comics’ The Flash #762

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