PARAMORE: "The Self-Titled Tour" - Anaheim, CA - 10.19.13

On Saturday night I finally got to see Paramore, one of my favorite bands, in concert at the Honda Center in Anaheim, CA. They were on their "Self-Titled Tour" in support of their 4th studio album, the self-titled Paramore, hence the name of the tour. As a fairly passionate fan, I've kept up with the trials and tribulations of the group throughout the past few years. The Farro brothers' exit and the ensuing chaos and pressure it placed upon the remaining pillars of Paramore: Hayley Williams, Taylor York and Jeremy Davis. The three handled the drama with appropriate delicacy and focused instead on the future of their music. With Paramore, it clearly showed. The album debuted at #1 on the Billboard charts and garnered near critical acclaim upon its release. The next step, their first headlining arena tour. Saturday night's show didn't fill the Honda Center to capacity, probably to be expected with it being their first full-size arena tour and all, but even though every seat wasn't filled, the passion within that room was greater than anything I've felt at most sold out concerts. The show had everything you'd expect from a massive scale production – flashing lights, huge video screens, lasers,  confetti cannons - but it also had something that I think many concerts don't – heart.

For their nearly two-hour set, Paramore owned the stage. The second the billowing black curtain dropped revealing the silhouettes of Hayley, Taylor and Jeremy against the band's emblem – a symbol meant  to represent the three members of the band and the fans and family around them – the crowd roared. What's funny is that the roar didn't really stop throughout the entire show. It stayed constant. The sheer energy in the room was really something. It was the type of concert where not a single person would dare sit down. The type of concert where everyone is there because they WANT to be there. Not a show at the Hollywood Bowl that's basically just a scene to be apart of for 50% of the crowd. Everyone is there to experience a moment with other people who share a similar passion for the band.  From the first notes of "Grow Up," the opening song and the one of the central themes of Paramore, the audience was in it, together. It's a pretty weird feeling to feel connected to thousands of people at a single moment and it's pretty weird to write about it right now, but what can I say, it happened.

The show moved very quickly with a near breathless pace that left me wondering how the hell they pull this off night after night. In the early goings, one song crashed into another as they hit all the major highlights, "That's What You Get," "Decode," "Now," "crushcrushcrush," etc. "Ain't It Fun," one of highlights of Paramore, was a total showstopper – the sheer funk and soul of the song was on full display and it hit a new level when the original gospel choir, that recorded on the album, joined in on the fun. It raged on for nearly ten minutes and lit the Honda Center on fire. Another insane moment happened when Hayley had a fan come up on stage and sing the final verse of "Misery Business" with her. Suffice to say, it was awesome.

The band eventually slowed things down. Hayley addressed the crowd and blamed "the band catching up on Breaking Bad" as the reason for their 3-year absence from Anaheim. In that moment, my love grew even deeper for her, which I didn't think was possible. Of course, the crowd knew the real reason for the band's absence, but that didn't matter to them. Hayley introduced "Last Hope" with a heartfelt comment that touched upon that very reason. "We wrote this next song while inspired by that moment in life where you aren't sure where your next step is going to be, or if you can even survive it, but if you hold onto that glimmer of hope or 'spark,' you'll push through the fog and see the future that awaits." It was a raw moment that silenced the crowd and one that resonated with a lot of people, in severely different ways, I'm sure. For how loud it had been, the silence meant even more.

I had recently read an interview with the band where they detailed how their shows are different. It's not just a concert for their fans, but a time to express to their fans how much they mean to them and how they are basically one big family that support each other. I believe Hayley said most people come away surprised to see how emotional the experience is. After experiencing it for myself, I totally agree. For how big the production design was, it never felt empty or soulless. It was filled with passion and I've never quite experienced anything like it. A crowd of thousands united by a sound, a lyric, a note. I think the night meant a lot of different things to different people but it was evident that everyone leaving got what they wanted. I certainly did.

source: http://little-paramonster.tumblr.com 

Paramore's "The Self-Titled Tour" continues through the remainder of 2013, including a date at Madison Square Garden. Click HERE for tickets. 

TV REVIEW: "American Horror Story: Coven" -- Premiered: October 9, 2013

"There are no shadows, not anymore..."

FX's anthology series returns with a b-witching hour that I'm sure thrilled its fans and left the uninitiated with a serious case of whiplash. Also, Jessica Lange said "Twitter" unlike anything I've ever heard.

Let's get something out of the way, I love American Horror Story. I've loved it since its twisted, wild premiere back in October 2011. It would have to do a lot of things wrong for me to object to whatever batshit insanity Ryan Murphy and Brad Falchuk, the creators, are feeding me. I get that a lot of people don't like it, and it's certainly not for everyone, but when the show clicks, there is quite honestly, nothing like it on TV. Wednesday's premiere, Coven, the show's third season, had everything AHS fans have come to love about the series. Historically (accurate?) flashbacks, over-the-top characters with insane personalities and a hint of  emotional depth to be dealt with later, and balls-to-the-wall filmmaking that features more tricks and treats than Halloween. Suffice to say, I'm glad it's back.

Set in New Orleans in the 19th and 21st centuries, Coven begins with arguably American Horror Story's most horrifying sequence to-date. It's 1834 and Madame LaLaurie (Kathy Bates) is hosting a dinner party of sorts. Unbeknownst to her guests, in the attic of her home, LaLaurie hosts a different kind of party – a prison full of tortured slaves. Imprisoned for punishment or sadistic pleasure, she uses the blood from their wounds (and other things) as a face-mask to better preserve her youth. Oh, and did I mention she makes an actual minotaur out of one of the them? It's disgusting and disturbing and just when you think you can't take the horrific imagery any longer, the opening credits roll. Not like it matters, Coven's opening credits are just as creepy as the show itself, complete with the instantly iconic AHS theme song. The graphics change every season but the music stays the same, albeit with some slight alterations. It's grown to be such an integral part of the show, Ryan Murphy revealed the credit sequence two weeks prior to Wednesday's premiere.

From there, we flash-forward to present day where things don't get any less weird. Zoe (Taissa Farmiga) is gettin' funky with her boyfriend and just as things start to heat up, boom, the boyfriend starts convulsing, blood bleeding and bursting from his eyes and nose. And... dead. She kills him while having sex. Weird. She must be a witch. That's basically how quick things move and it's something the AHS audience has come to expect. Spare us the set-up, let's get to the goods. In lieu of further conversation with her mother detailing the history of witchcraft in their family, we're treated to a brief expositional monologue while Zoe travels, by train, to The Big Easy. The train ride immediately calls to mind Harry Potter and Farmiga's dry delivery while riffing on the history of witchcraft in her family feels very reminiscent of Twilight. The proceedings give the opening minutes of the premiere a much younger feel than the first and second season but things mature as the hour progresses. Upon arriving in New Orleans, Zoe lands at the front gate of Miss Robicheaux's Academy for Exceptional Young Ladies, a school for witches in training, and Zoe's new home.

Upon entering the mansion, Zoe meets Nan (Jamie Brewer), Queenie (Gabourey Sidibe), and Madison Montgomery (Emma Roberts). Zoe recognizes Madison from her days as a young Hollywood starlet, ya know, before becoming a witch. The three of them don't exactly but what can you expect when you force three young witches, all with different powers, to live together. The headmistress of the academy, Cordelia Foxx (Sarah Paulson [yay!]), formally welcomes Zoe and explains the origins of the school along with the some necessary mythology AHS has concocted for Coven.  Going forward, it appears the most important concept is the idea of "The Supreme" witch, a once in a generation all-powerful witch who possesses all witch-ly powers and in turn is the most feared amongst the society.

Enter the current reigning supreme, and Coredelia's mother, Fiona Goode (Jessica Lange), who after a brief visit with a special doctor in Los Angeles, returns to New Orleans after hearing of a recent modern-day witch being burned at the stake. She was in L.A. seeking the latest and greatest medicine to restore her youth – to no success. You see, the one power Fiona doesn't have is the power of never-ending youth. It's obvious Cordelia and Fiona do NOT get along and there's a hint at a very rocky past between them. Another big riff they both disagree on is how Miss Robicheaux's should be run. Fiona thinks the girls shouldn't hide who they are, that they need to fight for their witch rights, while Cordelia thinks that keeping quiet and living anonymously amongst the population is the best course of action. Lange and Paulson are incredible in their first scene of the season together. Their relationship, so full of contempt and misery is the first sign of the sadness that often surrounds the characters within the American Horror Story universe. On the outside, it's a fantastic bitch fight, but when Coredlia says bluntly to Fiona, "When are you gonna die already?" it strikes a different chord with the audience, and it's kind of heartbreaking. Cordelia neglects Fiona's advances as she declares "a storm is coming..." and that these witches can't hide in the shadows as there are no shadows anymore hint at a big through-line of the season. Is anyone safe from public scrutiny and can secrets even be kept in a society that has risen to value being constantly connected at all times? Are our shadows gone, too? It should also be noted that Jessica Lange's line delivery of "Twitter" in this scene breathed new life into me. It was incredible. Iconic. 

Outside of the premiere's cold open, the other equally disturbing scene arrives when Madison and Zoe, who Madison has deemed her new best friend, attend a frat party at a nearby college campus. It's here where Zoe meets one of the frat boys, Peter (Evan Peters), and they instantly take a liking to one and other. They are given a pretty dramatic introduction where they gaze upon each other through an ice sculpture. It's a fancy frat party, okay?! It's fun seeing Taissa Farmiga and Evan Peters back on screen together since their love story was one of the biggest stories of American Horror Story's premiere season. Sadly, the swooning doesn't last long. Madison ends up getting drugged and raped by a group of frat bros, excluding Kyle, who don't take a liking to her attitude. It's horrifying to say the least. The scene is shot intensely without getting overly graphic and it doesn't need to. The idea and quick cuts alone are enough to make your stomach turn. This after all, is an American horror that is all too real for many people. Kyle walks in the group and is disgusted. He grabs his boys and they all sprint out of the house to their bus. Madison stays  on the bed, defeated. Once Zoe finds her, she slowly rises in rage. Does she think she let this happen to herself? She was defenseless after all. The thing is, now she's not defenseless, she's a witch, rising from the ashes. The two leave the house and run towards the fraternity bus careening down the street. With a flick of her wrist, Madison sends the bus tumbling, flipping down the street. It's a violent crash that all but confirms the entire bus has come to a tragic end. For the audience, it's kind of awesome. It's one of several moments where Coven plays off an extremely serious moment with a wink and maybe a bit of a laugh. Your results may vary, but I happen to love these kinds of moments. They don't always land but when they do, it's glorious. Yes, rape is an incredibly serious issue that needs to be handled with care, but allowing the victim to fight back and feel empowered is something else entirely and something I think Coven will deal with a lot this season. An exploration of feminism and what can happen when a person takes control of their own decisions and the future in front of them. 

There is a LOT of other stuff that happens throughout "Bitchcraft," the title of the premiere. More history is quite literally "dug up" in a fantastic final twist to end the hour. I won't spoil it here but let's just say, the characters of New Orleans in the 19th and 21st century might not be too far removed from each other after all. The season premiere hints at a lot of things to be explored: the attempt to gain power, the lengths you will go to attain it, and what happens when you do. Additionally, the importance of youth in our culture, the supposed "evils" of growing old, the effects of oppression throughout American history, and finally how long someone can be beat down before losing it all in rage and perhaps, dropping a house on someone? That's a lot of stuff. But what I find so fascinating about American Horror Story is how these themes slowly reveal themselves and their impact through the season while you're too busy focusing on its insanely impressive cast or its arresting images. The show puts a lot of emphasis on the slickness of its presentation, and its production value is one of the highest on television, but it all means nothing if the show isn't saying anything grander than what it's presenting. Luckily, in this case, I think the smoke and mirrors will clear and reveal that Coven has a lot to say. 

GRADE: A-

Stray observations: 

• Jessica Lange had so many epic one-liners it was impossible to keep track throughout the episode. She commands attention and the writing for Fiona is flat out fantastic. "The world isn't going to miss a bunch of assholes in Ed Hardy t-shirts" "You were being a little witch-bitch..."
• I loved Fiona's quick reference to her visit to Los Angeles. "It's tragic, the glamour's gone, they put a shopping mall on Sunset and Vine." Jessica Lange has such an amazing way of evoking rich history in her delivery. Also, props to Ryan Murphy & Brad Falchuk who penned the episode.
• I didn't mention Angela Bassett or Frances Conroy's characters here as they have a very brief introduction in the premiere. To put it simply, they are dressed in the most insane outfits and they are probably going to be bad ass.
• Based off the premiere, Coven is definitely much lighter than last year. I loved Asylum but boy was it tough to sit through at times, though I do think Coven will grow darker as the season progresses.

TV REVIEW: "Masters of Sex" -- Premiered: September 29, 2013

"This study is the scandal..."

Showtime's Masters of Sex premiered last Sunday. Sadly, its premiere was kind of overshadowed by another acclaimed cable drama series that ended its five season run on the same night. You may have heard of it. I don't know, bitch! But I'm not here to write about that. I'm here to write about this amazingly new, brave, fresh, and quite frankly, astonishing new drama series that just knocked my socks off.

Michael Sheen stars as Dr. William Masters, an ob-gyn at the Washington University in St. Louis, who is rather driven in his study of the underlying meaning and physiology of what sex means to those who experience it and the culture surrounding it. From the early goings it's evident that Masters is a brilliant, progressive man who doesn't take no for an answer. He is the master of his domain in the workplace but his relationship with his wife, Libby, suffers for it. Of course, Libby and Masters are attempting to have a child so if there was ever a time he needs to be present with his wife, it's now. What's striking is that Masters is full of life, passion, and energy in the workplace but in his moments at home with his wife, including an incredibly awkward sex scene, he transforms into a lifeless, nervous being incapable of feelings. After the aforementioned sex scene, featuring all the awkwardness of a middle school dance, Dr. Masters' wife looks up to him as he goes to return to his own bed (yes, they have seperate beds) and asks, "What do you see when you look at me?" He responds simply with "love." It's a heartbreaking moment. It appears he's genuine with his response, but in that moment, "love" is just a word and not something he feels. It's almost as if he thinks that's what he's supposed to say in that moment, so he does. Sheen is so perfectly calculated in his performance that after the pilot alone, he will hands down be in the running for an Emmy award next year. He's THAT good and something tells me we haven't even skimmed the surface of Dr. Masters or Sheen's performance.

Of course, with Dr. Masters embarking on this journey, he is in need of an assistant! Enter Virginia Johnson, a perfectly cast Lizzy Caplan, a former jazz singer turned secretary. Masters takes a special interest in her, casually observing her interactions in the hospital's administration unit as he makes his way in and out of the office. Eventually, one day he corners her into "interviewing" for the new role as his assistant. In this case, "assistant" means business partner in the industry of the ins and outs of the female orgasm and all the sexy details that go along with it. She impresses him with her witty and honest commentary throughout the interview. At one moment, Masters asks her bluntly "Why would a woman fake an orgasm." She responds "to get back to whatever else she wants to do be doing." It's fantastic scene work by both Sheen and Caplan. Their chemistry crackles with the aid of the expertly written screenplay by Michelle Ashford. I giggled, yes GIGGLED with delight while the two shared the screen. It's a serious show about very serious, scientific, and political matters but it doesn't forget to have fun along the way.

The pilot breezes by quite quickly. It's beautiful to look at and every scene is engaging. After all, these are rather normal people at the outset of an extraordinary adventure of discovery. There are many wheels in motion but at the center of it all is Masters. A terribly broken man full of sadness but also full of drive and passion for his work and his belief. It is with Virginia, or Ginny for short, that Masters first smiles in the episode. It's beaming and genuinely happy. In turn, it's horribly depressing. What's preventing him from smiling at home, with his loving wife? The final scene is also probably one of the most mind-bending cliffhangers I've seen and yet it simply comes about during a conversation between Masters and Virginia, in a dark office while Masters is completing paperwork. Basically, Masters thinks that to keep their results as accurate as possible, the two of them should have sex, for science. Virginia is caught of guard, as she should be. Masters clearly looks at the act of sex as a piece of science while Virginia, like the rest of the world, is still in the thinking that sex is an extremely intimate act performed for love, fun and everything in-between. It's a tense scene and Virginia leaves Masters' office suggesting she will need time to think about it over the weekend. Masters obliges and returns to his paperwork. Once the door is closed and Virginia is gone, he stops writing and rubs his face in what appears to be frustration. Perhaps, this has all moved far too quickly. Perhaps, he is starting to realize there might be more to sex than he thought.

GRADE: A

Stray observations:

• I didn't mention Margo Martindale above. She was fantastically funny as Masters' secretary who isn't quite ready to venture into the journey of sex with him. She reminded me how much I miss The Americans on FX. Come back, The Americans!
• I also didn't delve into the subplot of Virginia and Dr. Ethan Haas at all. A lot of juicy stuff but it was all kind of predictable. 
• Wow, there is a lot of nudity in this show. I mean I was expecting it, but just, wow.
• I am predicting an epic title credits sequence to start in Episode 2. We shall see.