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Good day all! Upcoming episode of Fireside Fedi!
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Special Guest: @bmxescape
#music #vintage #synth #electricguitar #retrofuturistic #80s #1980smusic
Date & Time: 2025-12-04 1300 UTC-5
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A song about a game character that is addicted to racing.

BMX Escape is a very cool synthwave band that I really enjoy listening to. And as of yesterday they have a Mastodon account, which is partially because of me.

BMX Escape is a very cool synthwave band that I really enjoy listening to. And as of yesterday they have a Mastodon account, which is partially because of me.

BMX Escape is a very cool synthwave band that I really enjoy listening to. And as of yesterday they have a Mastodon account, which is partially because of me.

BMX Escape is a very cool synthwave band that I really enjoy listening to. And as of yesterday they have a Mastodon account, which is partially because of me.

While Brian De Palma was making Carrie ( as a part of his Alfred Hitchcock imitation films ), Alfred Hitchcock himself was making his last picture Family Plot, where he used the composer from Steven Spielberg's Jaws John Williams for the score. De Palma, probably knowing Williams through Spielberg, decided to mess around with Hitchcock himself, making a sort of yet another Carrie ( a film about people with superpowers ) but this time hiring John Williams himself for the score. And weirdly enough ( while Spielberg was finishing Close Encounters and starting 1941 where his camera sexually obsessed over De Palma's GF at the time Nancy Allen ) De Palma hires Spielberg's girlfriend at the time Amy Irving for the lead role.

The 1970s are an interesting time when it comes to cinema history. It is the time after the code was changed into the MPAA rating system ( allowing more violence, nudity and harsh language on the screen ) and yet before new blog-baster Hollywood was born. 1976's Carrie by Brian De Palma was already released after the 1974 Steven Spielberg sensation Jaws. But still before George Lucas broke the planet with his Star Wars. Everybody knew the movies were intense at that time. Some of the most depressing shit came out at the 1970s. And with it, there was also Carrie. A psycho-sexual revenge-tale about child-abuse.

Watching the opening scene of Brian De Palma's 1998 film Snake Eyes makes you realize that this motherfucker is trying very hard. We have 13 minutes of Nicolas Cage running around a very crowded set. The scene is clever with its camera, giving us multiple layers of exposition in the same time. Like there could be a TV on the foreground and Cage on the background. And they seem unrelated at first, but the scene establishes most of it's plot details right in this very shot. And then the shot ends ( 13 minutes later ) at the exact moment, the script drops the "inciting incident". De Palma is really trying hard to direct the shit out this movie.

Maïwenn Le Besco's 2011 film Polisse tells a story about a "child protection unit" in French police. The film is written by Maïwenn based on real life cases that she researched with a real "child protection unit". So the film has no bullshit in it. And yet given Maïwenn's personal life, this begs the question: Was this movie secretly a hate letter to Luc Besson? Was this film the greatest "fuck you" in the history of French cinema?

47th Academy Awards from 1975 ( giving awards to movies from 1974 ) was an interesting spectacle. Francis Ford Coppola's film The Conversation ( which was nominated for Best Picture ) lost to The Godfather Part II also by Francis Ford Coppola. In 1981 Brian De Palma, one of the people who hanged out with Francis at the time, decided to remake a 1966 Italian film Blowup, but doing it like Coppola's The Conversation. Where sound plays a critical role in the plot of the picture.

I don't remember when was the last time I had watched a movie so strong that my mind literally cannot stop obsessing over it. Being on a Luc Besson marathon I discovered that there is a misunderstood film which Besson wrote together with Guy Ritchie, which was directed by Ritchie, which is called Revolver. The 13% score on Rotten Tomatoes, in my opinion is there just because the critics were literally too dumb, or too insecure, for this movie. Or because this is something the Ritchie and Besson literally wanted to achieve. If the film became a hit, or was well received critically, the message of the film would not have worked as well as it does.

For @vanth@reddthat.com ... yes this review directly continues the speculation I had in my review of The Fifth Element, which again requires taking the relationship between Luc Besson and Maïwenn Le Besco seriously. Taking them seriously is kind of like advocating for pedophilia. I'm sorry. This was something that really happened. And I cannot change the age of Maïwenn Le Besco at the time, even if I wanted to. This particular review clarifies my stands on the topic a bit more. But if any speculation on the topic triggers you immediately, I suppose be free to remind people of what I already just said here.